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200: A Giant of an Episode · Movie Meltdown

• 0:04
  Speaker 1: This is Jess Weixler and you are listening to Movie Meltdown.
• 0:32
  Speaker 2: I should go higher with that.
• 0:33
  Speaker 1: Hi, this is Jess Wexler and you are listening to
• 0:36
  Speaker 1: Moving Well Down.
• 0:40
  Speaker 3: Too much?
• 0:41
  Speaker 2: No, you can never do too much on this show.
• 0:45
  Speaker 1: You've not seen it. You've finally found the place where
• 0:53
  Speaker 1: you belong. Where's the tea? Where's the tea?
• 1:05
  Speaker 4: It's showtime.
• 1:06
  Speaker 5: The following feature has been rated R by the Motion
• 1:09
  Speaker 5: Picture Association of America.
• 1:11
  Speaker 6: It is intended for mature audiences and parental discretion is advised.
• 1:16
  Speaker 6: Our nuclear reactor pumping out one million kilowatts of power.
• 2:04
  Speaker 2: What's up and welcome to Movie Meltdown. I'm Brian.
• 2:06
  Speaker 4: I'm Greg. I'm Fred.
• 2:09
  Speaker 2: And we are standing in the lobby of the Village
• 2:11
  Speaker 2: A Theaters here at the world premiere of Symbiosis.
• 2:13
  Speaker 4: Symbiosis.
• 2:15
  Speaker 2: If you're not familiar with it, well, you probably don't
• 2:17
  Speaker 2: know Bo. Our own Bo has directed, wrote, I believe,
• 2:24
  Speaker 2: I don't know, he's made himself a movie, basically. And
• 2:26
  Speaker 2: taken tickets. And is now selling tickets.
• 2:29
  Speaker 7: Selling tickets in front of his own movie.
• 2:31
  Speaker 2: How cool is that? It's pretty awesome. So we're at
• 2:34
  Speaker 2: the world premiere here. We're going to go see it
• 2:36
  Speaker 2: on the big screen, which is pretty impressive. I mean,
• 2:38
  Speaker 2: I don't know very many people that have directed a movie,
• 2:41
  Speaker 2: and I got to see it in an actual theater.
• 2:43
  Speaker 2: So that's pretty awesome for us.
• 2:45
  Speaker 7: Yeah, I was just comparing it to the mural downtown
• 2:48
  Speaker 7: at the theater on 4th Street.
• 2:50
  Speaker 2: The Palace? Yeah.
• 2:52
  Speaker 7: Yeah, it's Peter Bodner painted it. And he painted D.W.
• 2:57
  Speaker 7: Griffith in the ticket window of the theater. It's kind
• 3:00
  Speaker 7: of a funny thing.
• 3:01
  Speaker 2: That's pretty awesome.
• 3:03
  Speaker 7: That's who I would like in my theater. If you
• 3:07
  Speaker 7: were hiring somebody to work in the theater. Have you
• 3:11
  Speaker 7: ever noticed when you go in, they have a different person... like,
• 3:15
  Speaker 7: sell you the ticket and then somebody else tears it. Like,
• 3:19
  Speaker 7: I want to apply for the tearing the ticket job.
• 3:22
  Speaker 7: Because your resume could just be any piece of paper.
• 3:26
  Speaker 7: Maybe you have a test.
• 3:27
  Speaker 2: Can you tear this ticket?
• 3:29
  Speaker 5: How about paper?
• 3:30
  Speaker 8: How about multiple tickets?
• 3:32
  Speaker 2: No, no. I think what you do, you walk in
• 3:34
  Speaker 2: to the job interview with your resume, tear it in half,
• 3:36
  Speaker 2: and drop it on his desk and walk out the door.
• 3:38
  Speaker 7: I actually think I saw a comedian do this somewhere,
• 3:42
  Speaker 7: and it was like, Why is he ripping us off?
• 3:44
  Speaker 7: It's like, can you sell the ticket and Tara?
• 3:47
  Speaker 2: Not without help.
• 3:49
  Speaker 7: I'm going to have to have an assistant.
• 3:53
  Speaker 2: Movie comedy.
• 3:55
  Speaker 9: Any other poignant insights?
• 3:57
  Speaker 2: I'm waiting to see if he's not busy. Let's go
• 3:59
  Speaker 2: bug him. Okay, Beau, you're at your world premiere. Did
• 4:04
  Speaker 2: you ever think you'd make it to these heights of stardom?
• 4:07
  Speaker 2: The heights of Village 8?
• 4:09
  Speaker 8: You mean... Well, I was skeptical for a long time,
• 4:13
  Speaker 8: but Fred, he inspired me.
• 4:16
  Speaker 7: Well, you can laugh about it being Village 8, but
• 4:18
  Speaker 7: it's a lot better than Village 1.
• 4:20
  Speaker 2: That's true. That's very, very true.
• 4:22
  Speaker 5: You shared the marquee with Butter.
• 4:24
  Speaker 8: Yeah, I did, appropriately enough.
• 4:27
  Speaker 2: Bottom tier, bottom tier. So, in actuality, how long have
• 4:31
  Speaker 2: you worked on this thing?
• 4:34
  Speaker 8: I wrote the script from April till May and filmed
• 4:36
  Speaker 8: it from May till July and been editing it pretty much.
• 4:39
  Speaker 2: Up until last week.
• 4:41
  Speaker 6: Awesome.
• 4:42
  Speaker 2: Last second, piecing the last bits together. Neurotic, over-obsessive tweaking.
• 4:48
  Speaker 5: More like it. Nice.
• 4:51
  Speaker 2: Hey, look, Ben's here.
• 4:54
  Speaker 4: We're recording.
• 4:55
  Speaker 6: Ben, say hi.
• 4:55
  Speaker 2: We're recording. Say hi.
• 4:57
  Speaker 4: Hi. What, sir?
• 5:00
  Speaker 2: Movie meltdown group's loitering around in the lobby. We should
• 5:03
  Speaker 2: ask somebody who they're hiring.
• 5:09
  Speaker 8: So I'm very excited for this after seeing the Eraserhead
• 5:12
  Speaker 8: trailer before coming here.
• 5:14
  Speaker 2: Eraserhead-esque trailer.
• 5:15
  Speaker 5: How about you guys?
• 5:18
  Speaker 2: It's a pretty awesome trailer. I told him that.
• 5:21
  Speaker 5: It's a very awesome trailer. Definitely.
• 5:24
  Speaker 2: So anyway, we're piecing this together as a little intro.
• 5:27
  Speaker 2: I just thought it would be fun to come out
• 5:28
  Speaker 2: to the premiere and introduce this week's episode. But this episode,
• 5:33
  Speaker 2: we've got another special guest. It's sort of come together recently,
• 5:36
  Speaker 2: and I end up talking to Richard Keel, who most
• 5:41
  Speaker 2: of the world probably knows as Jaws from the James
• 5:44
  Speaker 2: Bond movies. Looking at his list of movies, he's done
• 5:48
  Speaker 2: a lot of stuff for years now, so it's It's
• 5:51
  Speaker 2: kind of interesting, and I wanted to see what his
• 5:53
  Speaker 2: take on this whole crazy career he's had. So, yeah,
• 5:57
  Speaker 2: I thought that would be kind of a nice guest
• 6:00
  Speaker 2: to throw into this show. So, yeah, we will take
• 6:03
  Speaker 2: a break here. When we come back, we will talk
• 6:05
  Speaker 2: to Richard.
• 6:05
  Speaker 4: I want you to be free.
• 6:07
  Speaker 1: Don't worry. Bye.
• 6:19
  Speaker 4: Bye.
• 6:37
  Speaker 6: Drive away your worries and cares at this drive-in theater,
• 6:41
  Speaker 6: where you will see the finest motion pictures of all time,
• 6:45
  Speaker 6: soon to be released. Drama, comedy, adventure, excitement, something for everyone.
• 6:53
  Speaker 6: Here's a brief glimpse of some of the truly fine
• 6:55
  Speaker 6: pictures we've scheduled in the near future.
• 6:59
  Speaker 3: From ancient Genesis to the modern screen is the name
• 7:02
  Speaker 3: written in blood, Eegah.
• 7:06
  Speaker 10: If I could just call you.
• 7:09
  Speaker 8: On the phone.
• 7:14
  Speaker 2: The coat of the ghost, that's the sign of the toad.
• 7:18
  Speaker 3: Nobody lives on the Brownsville Road. Thrill to the newest
• 7:22
  Speaker 3: recording star, R12 Jr.
• 7:24
  Speaker 9: Oh, they're screaming this way.
• 7:26
  Speaker 3: See ravishing Marilyn Manning in a thrilling, chilling story. The
• 7:45
  Speaker 3: last of the prehistoric giants sees his first girl. Curious
• 8:11
  Speaker 3: newsmen search deep in giant country for the last of
• 8:14
  Speaker 3: the ancient cavemen. See a tough giant, tamed by the
• 8:19
  Speaker 3: soft hands of his captive woman. See him sacrifice his
• 8:23
  Speaker 3: ageless beard.
• 8:24
  Speaker 6: For her love.
• 8:29
  Speaker 3: Then lose her to a boy in a dune buggy,
• 8:31
  Speaker 3: escaping a burning desert. Iga's primitive passion was love or kill.
• 8:42
  Speaker 1: Hear Iga talk, the ancient language of love used at
• 8:49
  Speaker 1: the beginning of time.
• 9:16
  Speaker 11: Hello, I'm Jim Cogan.
• 9:18
  Speaker 4: And I'm John Wisby.
• 9:19
  Speaker 11: And this is a promo for the Crash and Burn
• 9:21
  Speaker 11: movie podcast. Every episode, we pick a theme and review
• 9:26
  Speaker 11: three films each that we like, but fall within that theme.
• 9:31
  Speaker 8: And then we also take a classic B-movie or some
• 9:35
  Speaker 8: other film that's good for the wrong reasons for our
• 9:38
  Speaker 8: so-bad-it's-great slot, and we rip the piss out of it.
• 9:43
  Speaker 11: So that's the crash and burn movie podcast every fortnight
• 9:46
  Speaker 11: you can pick it up at www.crashandburnmoviepodcast.co.uk there you can
• 9:52
  Speaker 11: subscribe to the rss feed you can subscribe in itunes
• 9:55
  Speaker 11: you can stream or download the previous episodes you can like.
• 9:59
  Speaker 1: Us on.
• 10:16
  Speaker 5: Tweaked Audio, your source for high-performance, noise-reducing earbuds. Available in
• 10:21
  Speaker 5: three styles and seven colors, durable and designed to sound
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  Speaker 5: one you're listening to now. Tweaked Audio earbuds come with
• 10:31
  Speaker 5: a one-year warranty, and now there's a special deal for
• 10:34
  Speaker 5: Movie Meltdown listeners. Just go to tweakedaudio.com, and when you
• 10:37
  Speaker 5: check out, enter the discount code MELTDOWN. Then you'll get
• 10:40
  Speaker 5: 33% off and free shipping. Tweaked Audio. Sounds better.
• 10:50
  Speaker 10: Hello, this is Caroline Munro and you're listening to Movie Meltdown.
• 11:07
  Speaker 12: Music What's part of your problem? You know, you.
• 11:21
  Speaker 6: Haven't seen enough movies. All of life's riddles.
• 11:28
  Speaker 1: Are answered in the movies. And now, on with the show.
• 11:37
  Speaker 1: The End.
• 11:48
  Speaker 2: People, you know, with you people probably, I think you
• 11:51
  Speaker 2: even mentioned, you know, they always sort of ask you
• 11:54
  Speaker 2: your height and start with that as sort of the thing.
• 11:56
  Speaker 2: I think I kind of wanted to get into it
• 11:58
  Speaker 2: a little before that. Like early on, when exactly did
• 12:02
  Speaker 2: that kick in? I mean, were you sort of normal
• 12:06
  Speaker 2: sized as a child?
• 12:07
  Speaker 4: I was normal sized up until I was about 12.
• 12:11
  Speaker 2: Interesting.
• 12:11
  Speaker 4: And in between 12 and 14... I had this humongous
• 12:18
  Speaker 4: growth spurt that was caused by a benign pituitary tumor,
• 12:23
  Speaker 4: which has been treated, and the excessive growth hormone has
• 12:28
  Speaker 4: been stopped. But that time, I grew like crazy.
• 12:35
  Speaker 2: I guess at that point, when that hadn't even kicked in,
• 12:39
  Speaker 2: was the entertainment industry something you were already interested in?
• 12:43
  Speaker 12: No.
• 12:43
  Speaker 4: I was... hoping to be an attorney. My dad died
• 12:49
  Speaker 4: when I was 19. We had a family business. It
• 12:53
  Speaker 4: was in the middle of the 1958 recession. The street
• 12:58
  Speaker 4: in front of our family business had been torn up
• 13:01
  Speaker 4: for a fuel line for almost a year. It really
• 13:10
  Speaker 4: put us out of business. My mom had to go
• 13:13
  Speaker 4: get a job, and so did I. And everything cost
• 13:18
  Speaker 4: so much money at that time. They didn't have all
• 13:20
  Speaker 4: these big and tall shops. So like suits and sport
• 13:25
  Speaker 4: coats and long-sleeve shorts had to be tailor-made. They were
• 13:28
  Speaker 4: quite expensive. And I had to have a bigger car,
• 13:32
  Speaker 4: and I couldn't fit in the average car. And I
• 13:36
  Speaker 4: had to have a king-size bed. And at that time...
• 13:40
  Speaker 4: You almost had to be a king to afford one.
• 13:42
  Speaker 2: So I was.
• 13:44
  Speaker 4: Trying to figure out what I was going to do,
• 13:47
  Speaker 4: and my aunt said, why don't you get into the movies?
• 13:51
  Speaker 4: It made sense to me, so I went after that.
• 13:55
  Speaker 2: Was it something you were interested in, the acting of it,
• 14:00
  Speaker 2: or in the performance end of it, or was it
• 14:02
  Speaker 2: just a job?
• 14:03
  Speaker 4: Just being able to walk into a store and be
• 14:06
  Speaker 4: able to afford to buy a sport coat or a suit.
• 14:09
  Speaker 4: or a car, or a king-size bed. And, you know,
• 14:14
  Speaker 4: just a means to an end, really.
• 14:16
  Speaker 2: Yeah, I guess the industry was a little different then
• 14:20
  Speaker 2: than it is now.
• 14:21
  Speaker 4: Of course, yeah. As a matter of fact, when I
• 14:24
  Speaker 4: was trying to break into the movies, it was in
• 14:26
  Speaker 4: the middle of a writer's strike. So it was, you know,
• 14:31
  Speaker 4: the wrong time. And I didn't succeed. And I had
• 14:37
  Speaker 4: to take a regular job, uh, in sales. But soon
• 14:43
  Speaker 4: after I took that job, I was doing quite well
• 14:47
  Speaker 4: at it. I got a call from a producer that
• 14:50
  Speaker 4: had been told about me by a horse wrangler who
• 14:55
  Speaker 4: was going to be working on a pilot this producer
• 14:57
  Speaker 4: was doing. And I ended up getting a part in
• 15:01
  Speaker 4: the pilot.
• 15:02
  Speaker 2: Was that one of the earlier, like Rifleman?
• 15:05
  Speaker 4: No, it was... based on the comic strip character, the Phantom, the, uh,
• 15:12
  Speaker 4: the guy with the, uh, the gray suit, uh, kind
• 15:17
  Speaker 4: of like Superman.
• 15:18
  Speaker 2: Yeah.
• 15:19
  Speaker 4: Yeah.
• 15:19
  Speaker 2: The mask and the ring.
• 15:20
  Speaker 4: Devil dog. Yeah. And, uh, you know, the pilot didn't sell.
• 15:25
  Speaker 4: And in the meantime, I, I got a, uh, a
• 15:29
  Speaker 4: role as a lead heavy in a TV series called Klondike. And, uh,
• 15:35
  Speaker 4: it started, uh, James Coburn, and Ralph Tegger. And I
• 15:40
  Speaker 4: had a really good part. I had the title role.
• 15:44
  Speaker 4: Bare Knuckles and Bagpipes was the title. I played Def Brannigan,
• 15:49
  Speaker 4: a barnstorming bare-knuckled fighter who was going through the Klondike,
• 15:55
  Speaker 4: taking on all comers. And then that same year, I
• 15:59
  Speaker 4: did Rifleman and Thriller and some other shows.
• 16:05
  Speaker 2: I mean, at that point, had you done any training
• 16:08
  Speaker 2: in acting, or was it something you were just sort
• 16:10
  Speaker 2: of going on instinct?
• 16:11
  Speaker 4: Well, I did some training as I got roles. Like
• 16:17
  Speaker 4: for Thriller, I got help doing an English Cockney dialect,
• 16:24
  Speaker 4: where I played an actor who pretends to be a
• 16:27
  Speaker 4: master of sticks, along with Henry Daniel, who's another actor
• 16:33
  Speaker 4: who pretends to be a basil bud. or Squire Moloch,
• 16:37
  Speaker 4: and we scare the living wits out of this Englishman
• 16:42
  Speaker 4: and try to get his estate.
• 16:45
  Speaker 2: Yeah, that was a good show. Yeah, it was. You
• 16:47
  Speaker 2: were in a lot of classics at that point. I mean,
• 16:50
  Speaker 2: even to touch on some of the TV, you were
• 16:52
  Speaker 2: in one of the classic episodes of The Twilight Zone.
• 16:56
  Speaker 2: What was that like?
• 16:57
  Speaker 4: Yeah, I was actually in the middle of doing a
• 17:00
  Speaker 4: rather exploitation movie called Egox, And the producer of that
• 17:05
  Speaker 4: was kind enough to let me off for a week
• 17:09
  Speaker 4: to do Twilight Zone. And it turned out to be,
• 17:13
  Speaker 4: like you said, one of the classics.
• 17:16
  Speaker 2: Was Rod Serling on set at that time?
• 17:19
  Speaker 4: No, everybody asked that. No, Rod Serling did not produce
• 17:22
  Speaker 4: it or direct it. He simply wrote them and hosted
• 17:25
  Speaker 4: the show. So he did all of the hosting all
• 17:27
  Speaker 4: at one time.
• 17:30
  Speaker 2: And then I guess, was that one of the first
• 17:31
  Speaker 2: times you ended up with a lot of makeup?
• 17:34
  Speaker 4: Yeah, you know, a thriller, there was some makeup involved
• 17:37
  Speaker 4: with that, but The Twilight Zone was more of a
• 17:41
  Speaker 4: time-consuming makeup.
• 17:44
  Speaker 2: And then you mentioned Eegah. I guess we wanted to
• 17:47
  Speaker 2: touch on that. What was your take on that one?
• 17:51
  Speaker 4: Well, you know, it was a cult classic. It actually
• 17:54
  Speaker 4: did quite well at the drive-ins. At that time, they
• 17:58
  Speaker 4: had double-feature movies playing at the drive-ins. And they were
• 18:04
  Speaker 4: all sort of like B movies or C movies. And
• 18:09
  Speaker 4: I learned a lot from doing E-Guy. I learned a
• 18:12
  Speaker 4: lot about Panama and acting and being entertaining and humorous.
• 18:18
  Speaker 4: And I also learned from the producer a lot about
• 18:20
  Speaker 4: promoting movies, which I was able to use over the years.
• 18:26
  Speaker 4: And what he showed me was that If you had
• 18:30
  Speaker 4: a movie and you walked into a TV station or
• 18:33
  Speaker 4: a radio station or a newspaper office, they would do
• 18:37
  Speaker 4: a story on you because they were in need of stories.
• 18:40
  Speaker 4: If you were there locally, they would take advantage of that.
• 18:45
  Speaker 4: I was able to do that over the years with
• 18:48
  Speaker 4: the James Bond movies on both The Spy Who Loved
• 18:52
  Speaker 4: Me and Moonraker. They sent me out for maybe four
• 18:55
  Speaker 4: or five months on The Spy Who Loved Me and
• 18:59
  Speaker 4: about 10 months on Moonraker with my whole family, promoting
• 19:02
  Speaker 4: the movie all around the world. So it was very valuable,
• 19:06
  Speaker 4: what I learned.
• 19:07
  Speaker 2: Yeah, I mean, you got such a following, and some
• 19:11
  Speaker 2: of it from the different versions of it. Have you watched, like,
• 19:14
  Speaker 2: the Mystery Science Theater or all the other, you know, versions?
• 19:17
  Speaker 4: Yeah, I like the Elvira version the best. I like
• 19:21
  Speaker 4: her humor.
• 19:23
  Speaker 2: Yeah, but it's funny how it's sort of, carried on
• 19:26
  Speaker 2: through the generations. We've got somebody on our show that
• 19:28
  Speaker 2: has a daughter, and she was like seven years old,
• 19:32
  Speaker 2: and that was her favorite, was the Iga, and she
• 19:34
  Speaker 2: would like over and over watch it.
• 19:36
  Speaker 4: It's amazing. I have a couple three-year-old grandsons that enjoy
• 19:40
  Speaker 4: it a lot as well.
• 19:41
  Speaker 12: Yeah.
• 19:41
  Speaker 4: They're just fascinated by it.
• 19:45
  Speaker 2: Look at some of the other ones here. As far
• 19:47
  Speaker 2: as House of the Damned, how did that come into
• 19:50
  Speaker 2: play yeah you.
• 19:51
  Speaker 4: Know that was just a movie to pay the rent
• 19:53
  Speaker 4: and I really you know didn't care that much for
• 19:57
  Speaker 4: the role but years later I saw it for the
• 20:00
  Speaker 4: first time it wasn't that bad you know it had
• 20:03
  Speaker 4: kind of a pathos about it yeah it was kind
• 20:07
  Speaker 4: of sad so yeah Yeah.
• 20:10
  Speaker 2: And then, I guess not too much longer, again, just
• 20:14
  Speaker 2: to veer into TV again, you ended up on Gilligan's Island,
• 20:17
  Speaker 2: which I'm a huge fan of the series. What was
• 20:20
  Speaker 2: it like being on that set?
• 20:22
  Speaker 4: Well, you know, the people were real nice. Bob Denver
• 20:30
  Speaker 4: and Don Wells, I remember quite well. I also remember
• 20:36
  Speaker 4: we shot that in the winter season, And I had
• 20:39
  Speaker 4: to go into the lagoon. It was like freezing cold.
• 20:44
  Speaker 4: And they gave me like a pint or a half
• 20:46
  Speaker 4: pint of brandy. And I drank the whole thing down.
• 20:48
  Speaker 4: I was still shaking.
• 20:53
  Speaker 2: They have you doing a Russian accent on that. Was
• 20:55
  Speaker 2: that the first delving into accents?
• 20:58
  Speaker 4: Yeah, that was another thing. I would get help with
• 21:02
  Speaker 4: stuff like that when I would have a dialect to do.
• 21:05
  Speaker 4: I went to... I'm trying to remember, Robert Eastman, the
• 21:12
  Speaker 4: dialogue doctor.
• 21:13
  Speaker 5: Yeah, yeah.
• 21:15
  Speaker 4: And the producer of EGOT helped me, and I used
• 21:20
  Speaker 4: his tape recorder. I bought a book called Foreign Dialects
• 21:26
  Speaker 4: from the Pickwick Bookstore in Hollywood, and another one called
• 21:30
  Speaker 4: American Dialects, because we have unique sounds anywhere from people
• 21:35
  Speaker 4: that live in Montana to, you know, Georgia to Boston, Connecticut,
• 21:41
  Speaker 4: New York. They all sound different. It was helpful.
• 21:46
  Speaker 2: Sort of learning as you go.
• 21:49
  Speaker 4: That's interesting. I actually bought some Shakespeare records. Even though
• 22:01
  Speaker 4: I knew I would never play Hamlet, it still was
• 22:03
  Speaker 4: good to try it and work at it and try
• 22:09
  Speaker 4: to improve your diction and your ability to do different things.
• 22:15
  Speaker 2: As you went into it, was it something you were
• 22:19
  Speaker 2: getting into the acting more? Is it something you wanted
• 22:22
  Speaker 2: to pursue and be that lead actor and get to
• 22:25
  Speaker 2: that point? Or was it still just kind of a job?
• 22:28
  Speaker 4: As I got into it, well, first of all, I
• 22:31
  Speaker 4: was encouraged by an English teacher, Mr. Greeley. who knew
• 22:37
  Speaker 4: that I hated English and told me how I could
• 22:41
  Speaker 4: get out of it. I could take two years of
• 22:43
  Speaker 4: speech and one year of journalism. All those things helped me.
• 22:48
  Speaker 4: I learned that I could be humorous and could write
• 22:52
  Speaker 4: some comedy material. I went into it with that in
• 22:59
  Speaker 4: the back of my head. When I would get a
• 23:02
  Speaker 4: good role, I would actually run a full-page trade ad
• 23:06
  Speaker 4: or two, maybe one in Variety or The Hollywood Reporter,
• 23:11
  Speaker 4: and bring it to the attention of the industry. And
• 23:13
  Speaker 4: that helped me a lot. You know, people began to
• 23:17
  Speaker 4: realize that I was more than just a giant or,
• 23:20
  Speaker 4: you know, a monster. Yeah.
• 23:23
  Speaker 2: Before that, could you feel like resistance as you would
• 23:25
  Speaker 2: go in and people not seeing you as, you know,
• 23:29
  Speaker 2: taking you in those type of roles?
• 23:30
  Speaker 4: Yeah, I saw that the industry, you know, wasn't all
• 23:34
  Speaker 4: that creative, you know, You know, when there were shows
• 23:38
  Speaker 4: like The Untouchables, and you would think that a gangster
• 23:41
  Speaker 4: would want to have the biggest bodyguard he could find.
• 23:44
  Speaker 4: You know, so I felt like I was a natural
• 23:46
  Speaker 4: to play that role. And, you know, there were westerns
• 23:50
  Speaker 4: like Gunsmoke and, well, The Rifleman, you know, where the
• 23:54
  Speaker 4: leads were pretty tall. And they really needed to have
• 23:57
  Speaker 4: somebody even bigger, you know, to be the heavy guy.
• 24:02
  Speaker 2: I'm just going to look ahead here, and something like
• 24:05
  Speaker 2: The Longest Yard. I guess that's moving into kind of
• 24:09
  Speaker 2: a more normal, you know, than just kind of playing
• 24:10
  Speaker 2: in the sports realm.
• 24:12
  Speaker 4: Yeah, The Longest Yard was a big breakthrough movie for me.
• 24:16
  Speaker 4: Just prior to The Longest Yard, I did Skidoo with
• 24:21
  Speaker 4: Otto Preminger. And I was selling Lincoln Mercury cars quite successfully.
• 24:28
  Speaker 4: investing in real estate. I was selling real estate on
• 24:32
  Speaker 4: the side and doing quite well. I did that movie, Skidoo,
• 24:38
  Speaker 4: for Otto Preminger. He was a very passive-aggressive sort of personality.
• 24:46
  Speaker 4: When he interviewed me, he was very, very gracious and
• 24:48
  Speaker 4: very nice and said that he had followed my career
• 24:52
  Speaker 4: and respected me as an actor. It And all the
• 24:56
  Speaker 4: things I'd heard about him being a sadistic, horrible guy,
• 25:01
  Speaker 4: I couldn't believe until I got on the set and
• 25:05
  Speaker 4: watched him totally intimidate the leading ladies, Carol Lindley and
• 25:17
  Speaker 4: the gal that did, I'm trying to remember the other
• 25:23
  Speaker 4: big star's name, but He wouldn't allow either one of
• 25:26
  Speaker 4: them to wear any makeup, and he was constantly screaming
• 25:30
  Speaker 4: at them. I did a scene with Jackie Gleason and
• 25:34
  Speaker 4: Frank Gorshin. Frank Gorshin and I were trustees, and we
• 25:40
  Speaker 4: brought Gleason into the prison. At mess, we're eating Dinty
• 25:46
  Speaker 4: Moore stew, and Pemmage is making us all gobble it down.
• 25:51
  Speaker 4: And there's an actor named Michael Constantine. All these actors
• 25:54
  Speaker 4: are very, very good. You know, Frank Gorshin, Jackie Gleason,
• 25:58
  Speaker 4: Michael Constantine. And there was a new actor who had
• 26:03
  Speaker 4: just won a Tony Award on Broadway the year before
• 26:07
  Speaker 4: named Austin Pendleton. And in the middle of the scene
• 26:13
  Speaker 4: Austin was doing, Preminger literally screams at him. You want
• 26:20
  Speaker 4: to be an actor, you must act.
• 26:23
  Speaker 1: You stink.
• 26:25
  Speaker 4: Can you imagine that? I mean, this guy was like
• 26:28
  Speaker 4: so totally taken back. And apparently as a young kid,
• 26:33
  Speaker 4: he had gone through stuttering and through therapy had gotten
• 26:38
  Speaker 4: over it. All of a sudden, he was back to stuttering.
• 26:43
  Speaker 4: And he was... I don't understand... The motivation. And Gleason said,
• 26:55
  Speaker 4: the motivation kid is to do this freaking thing and
• 26:58
  Speaker 4: get the freak out of here. Gleason couldn't stand it,
• 27:02
  Speaker 4: and he could just hardly wait to get out and
• 27:04
  Speaker 4: finish it.
• 27:05
  Speaker 2: Well, it's funny. I actually run across Gadoo and was
• 27:09
  Speaker 2: watching it, and it's such a weird tone. What exactly
• 27:14
  Speaker 2: was he trying to do in that movie? Because it's
• 27:17
  Speaker 2: very different than most movies.
• 27:18
  Speaker 4: Would you ever see the movie?
• 27:19
  Speaker 2: Yeah, yeah, I actually just.
• 27:20
  Speaker 4: Yeah, it was like... It wasn't funny. It was pathetic.
• 27:26
  Speaker 4: It opened in Westwood in L.A. on a Wednesday at
• 27:30
  Speaker 4: that time. They open movies on Wednesdays. And it closed
• 27:33
  Speaker 4: on Friday. I think there were like nine people in
• 27:37
  Speaker 4: the audience when I went to see it on Wednesday.
• 27:40
  Speaker 4: And myself and a friend were two of the nine.
• 27:45
  Speaker 4: And by the time the movie was half over... there
• 27:48
  Speaker 4: was only myself, my friend, and one other person in
• 27:52
  Speaker 4: the theater. And apparently that was a critic because the
• 27:59
  Speaker 4: review came out the next day in the L.A. Times
• 28:01
  Speaker 4: saying the only thing that Preminger accomplished in his movies
• 28:06
  Speaker 4: could do was making a bunch of very old actors
• 28:08
  Speaker 4: look very, very old. You know, he wouldn't let them
• 28:11
  Speaker 4: wear makeup. And he had become weird. I mean, he
• 28:17
  Speaker 4: was a fantastic director in his heyday. I mean, he
• 28:20
  Speaker 4: did Forever Amber. He did Laura, you know, a great
• 28:24
  Speaker 4: black and white mystery movie. And he did Exodus and
• 28:29
  Speaker 4: The Man with the Golden Arm and The Cardinal. You know,
• 28:32
  Speaker 4: he was great. But it just seemed like he had
• 28:35
  Speaker 4: gone off the deep end. And I actually... I thought
• 28:40
  Speaker 4: to myself, if this is the big-time movies, who needs it?
• 28:44
  Speaker 4: I'm going to stick with real estate. I'm making good
• 28:48
  Speaker 4: money and make a career out of that. And then
• 28:52
  Speaker 4: The Longest Yard came along. And I could see the
• 28:55
  Speaker 4: potential of being in that movie. I knew that I
• 28:57
  Speaker 4: should be in that movie. And I couldn't get an interview.
• 29:02
  Speaker 4: There was a casting director, a lady from New York,
• 29:07
  Speaker 4: And she wouldn't, first of all, you know, you had
• 29:12
  Speaker 4: to be a legitimate stage actor in order to get
• 29:15
  Speaker 4: her attention, one. And two, she'd been told by Robert Aldridge,
• 29:20
  Speaker 4: a former All-American football player, that she was only to
• 29:25
  Speaker 4: cast football players, people that had a lot of football experience.
• 29:30
  Speaker 4: And I didn't have that. And so I couldn't get
• 29:35
  Speaker 4: an interview with the director. And my agent was affiliated
• 29:39
  Speaker 4: with two other agents and shared an office. This other agent,
• 29:44
  Speaker 4: my agent was Herman Zimmerman, and his associate, Steve Stevens,
• 29:49
  Speaker 4: had been a casting director and had cast a film
• 29:53
  Speaker 4: for Robert Aldridge. And he said, I can get him
• 29:56
  Speaker 4: in to see him. And so he... made arrangements for
• 30:00
  Speaker 4: me to meet Al Ruddy, the executive producer. And Al
• 30:06
  Speaker 4: Ruddy was like six foot eight. And I kind of
• 30:09
  Speaker 4: intimidated him a little bit, I think, because he was
• 30:12
  Speaker 4: kind of a slight guy. He wasn't real big. And
• 30:16
  Speaker 4: he said, well, what the F is going on with you?
• 30:21
  Speaker 4: And I said, well, I'm here meeting with you, Al.
• 30:24
  Speaker 4: That's what the F is going on with me. And
• 30:29
  Speaker 4: he kind of felt like I did, that I should
• 30:31
  Speaker 4: be in the movie. And he said, well, I think
• 30:34
  Speaker 4: that Robert, Bob should meet you. And so I got
• 30:40
  Speaker 4: in to meet Robert Aldridge. And he was trying to
• 30:46
  Speaker 4: dissuade me. I had this line of patter all built up.
• 30:52
  Speaker 4: I had a friend that... that knew this really well-known
• 31:01
  Speaker 4: football player. I can't remember his name right now, but
• 31:04
  Speaker 4: I'll think of it in a minute. This football player
• 31:10
  Speaker 4: with some friends would play a little touch football in
• 31:14
  Speaker 4: the park, like on Sundays. Oh, John Brody. My friend
• 31:23
  Speaker 4: made arrangements for me to participate and be you know,
• 31:26
  Speaker 4: out there and play touch football with him. And so
• 31:32
  Speaker 4: Robert Aldridge said, well, you know, what's your football experience?
• 31:34
  Speaker 4: I said, well, you know, high school I played football. And, well,
• 31:40
  Speaker 4: what about in college? Well, no. Well, any other? I said, well,
• 31:44
  Speaker 4: you know, I kind of scrimmage a little touch football
• 31:48
  Speaker 4: on the weekends every now and then with Brody and
• 31:50
  Speaker 4: the boys. He said, Brody, are you talking about John Brody?
• 31:53
  Speaker 4: I said, yeah. He said, I'd like to see that.
• 31:56
  Speaker 4: So I said, well, you see how, he said, the
• 31:59
  Speaker 4: next time you're going to be doing that, let my
• 32:01
  Speaker 4: secretary know, and I'll come out and watch you. He said, look, Richard,
• 32:07
  Speaker 4: he cut to the chase. I think he knew that
• 32:10
  Speaker 4: this was a line of BS, and he said, this
• 32:14
  Speaker 4: is not going to be a real fun movie. We're
• 32:17
  Speaker 4: going to be in a little tank town on the
• 32:20
  Speaker 4: road to Florida and Georgia, and there's absolutely nothing there
• 32:24
  Speaker 4: that's like maybe... some motels, a couple of restaurants, a
• 32:29
  Speaker 4: Western Auto, a bank, and the JCPenney's, and that's it.
• 32:33
  Speaker 4: And it's a dry county that you can't drink or anything.
• 32:38
  Speaker 4: And he said, we're going to be scrimmaging from the
• 32:41
  Speaker 4: very get-go, and we're going to be cracking helmets and
• 32:46
  Speaker 4: popping bodies. He said, it's going to be painful. He said,
• 32:52
  Speaker 4: you think you can handle the pain? So I took
• 32:55
  Speaker 4: a little chance, and I shifted into my acting mode,
• 33:00
  Speaker 4: and I said, is it okay if I hurt them?
• 33:05
  Speaker 4: And it kind of caught him by surprise, and he
• 33:09
  Speaker 4: took me seriously. He said, no, no, we don't want
• 33:12
  Speaker 4: you hurting anybody. It's just a movie. So when I called,
• 33:20
  Speaker 4: I made arrangements to... to do the text football in
• 33:23
  Speaker 4: the park with John Brody, and I called the secretary.
• 33:26
  Speaker 4: And she said, well, he was out of town that
• 33:29
  Speaker 4: weekend scouting locations. But anyway, I got invited to do
• 33:35
  Speaker 4: an around-the-table reading at Paramount Studios. And some of the
• 33:40
  Speaker 4: people that were there that read did not end up
• 33:43
  Speaker 4: in the movie, and others did, and I was one
• 33:45
  Speaker 4: of them. I remember the guy that... was playing the
• 33:50
  Speaker 4: manager and the reading around the table was the guy,
• 33:53
  Speaker 4: Wilford Brimley. Now he's oatmeal, but he's in a cocoon.
• 34:01
  Speaker 2: I don't know if.
• 34:03
  Speaker 4: You remember that commercial he did. They didn't like his reading. Anyway,
• 34:11
  Speaker 4: I'm sitting there and they start passing the scripts around.
• 34:15
  Speaker 4: I've yet to see a script, so I get handed
• 34:17
  Speaker 4: a script and it says Samson on the front of it.
• 34:22
  Speaker 4: So I dig in the script, and I start looking
• 34:25
  Speaker 4: for Samson. And it describes me as a former Mr. Ford,
• 34:33
  Speaker 4: a bodybuilder, a weightlifter. And I look next to me,
• 34:37
  Speaker 4: and there's this guy with his huge biceps and muscles.
• 34:42
  Speaker 4: He's obviously a bodybuilder. And I look at his script, and...
• 34:49
  Speaker 4: I'm trying to remember the name of the character. But anyway,
• 34:54
  Speaker 4: the character that he was given to read was the
• 34:57
  Speaker 4: guy that killed the steers, the cows for slaughter in
• 35:03
  Speaker 4: the slaughterhouse with a sledgehammer. And I'm thinking, you know,
• 35:09
  Speaker 4: I think they got this mixed up. I think he's
• 35:12
  Speaker 4: supposed to be Samson, George Samson, Grenada, former Mr. Florida,
• 35:16
  Speaker 4: the way he lived here. And I was supposed to
• 35:18
  Speaker 4: be this other guy. So I mentioned this to the
• 35:21
  Speaker 4: first assistant who had passed out the scripts. He said, no, no, no.
• 35:24
  Speaker 4: You're Samson. He's so-and-so. Okay. So I read it, and
• 35:29
  Speaker 4: apparently I did a fairly good job. And they hired
• 35:34
  Speaker 4: both of us. But anyway, the guy who was the weightlifter,
• 35:39
  Speaker 4: when we got to this little motel town, he was
• 35:43
  Speaker 4: all upset because the weights... his set of chrome weights
• 35:48
  Speaker 4: got lost. You know how the airlines will lose your luggage.
• 35:54
  Speaker 4: And he was losing millimeters of body by the day.
• 36:02
  Speaker 4: And he was all upset. And then the first day
• 36:08
  Speaker 4: of scrimmaging, he gets a big black and blue bruise
• 36:13
  Speaker 4: on his bicep. And now he's really upset. He borrows
• 36:21
  Speaker 4: a car from the motel manager and drives until it
• 36:26
  Speaker 4: runs out of gas and hitches a ride and uses
• 36:29
  Speaker 4: his round-trip ticket to go back home. So now that
• 36:33
  Speaker 4: guy is gone. And it sort of incorporated his part
• 36:38
  Speaker 4: and my part together and expanded my role. And.
• 36:45
  Speaker 4: When I did the scene where my nose gets broken
• 36:50
  Speaker 4: by Shockner, by Bob Tessier, and Burt Reynolds fixes it,
• 36:57
  Speaker 4: Robert Aldridge came up to me and said, Richard, you
• 37:00
  Speaker 4: were terrific. He said, I love what you did. He said,
• 37:04
  Speaker 4: especially all that ad-lib acting you did. He said, wow,
• 37:08
  Speaker 4: that was great. He said, you know, but you stopped.
• 37:12
  Speaker 4: I hadn't said, cut. And he said, you stop. I said, well,
• 37:16
  Speaker 4: I thought the scene was over. And he said, look,
• 37:18
  Speaker 4: I want you, all of you, I want you to
• 37:20
  Speaker 4: do it over again. You guys just, whatever comes to
• 37:23
  Speaker 4: your mind, you know, whatever ad lib you feel like saying,
• 37:27
  Speaker 4: do it. And let's just roll it until I say cut.
• 37:32
  Speaker 4: And so we go for the thing. And it was
• 37:35
  Speaker 4: a lot of fun. Everybody's just having a great time.
• 37:39
  Speaker 4: And I'm just ad libbing like crazy. and I think
• 37:45
  Speaker 4: Burt Reynolds fixes my nose, and I say, how do
• 37:47
  Speaker 4: I look? And he says, oh, you look better than
• 37:49
  Speaker 4: I do. It was like really fun stuff, and he
• 37:54
  Speaker 4: did it on purpose. No, he didn't. Tell him you didn't. Anyway,
• 38:01
  Speaker 4: when the scene was over with, Robert Aldridge said, everybody
• 38:04
  Speaker 4: gather around. He said, everybody gather around. He wanted the
• 38:08
  Speaker 4: crew and the cast all to gather around. He said...
• 38:12
  Speaker 4: Richard here just did a terrific job on that scene,
• 38:16
  Speaker 4: and I think he deserves a big hand from all
• 38:18
  Speaker 4: of us. And he started applauding. So I went from,
• 38:22
  Speaker 4: you know, Otto Preminger being a guy whacking people with
• 38:27
  Speaker 4: a stick to a director, a man's man, a former
• 38:33
  Speaker 4: All-American football player who knew how to get things out
• 38:36
  Speaker 4: of people using a carrot instead of a stick. He would...
• 38:41
  Speaker 4: he would say, give the boy a good bar, you know,
• 38:44
  Speaker 4: he would have the cameraman put a check on the magazine,
• 38:49
  Speaker 4: if he did pretty good, and a good bar if
• 38:51
  Speaker 4: he did great, and then I got the applause. So,
• 38:57
  Speaker 4: all of a sudden, I've got confidence, I really like
• 39:01
  Speaker 4: this guy, I'm able to talk to him, and I'm
• 39:05
  Speaker 4: able to share with him what I learned and some
• 39:10
  Speaker 4: fifteen years before that, making TV shows and movies. And
• 39:15
  Speaker 4: that was that you don't look big necessarily just because
• 39:18
  Speaker 4: you're seven feet tall. If you're standing next to a
• 39:23
  Speaker 4: guy six feet two and you're seven feet two and
• 39:26
  Speaker 4: they shoot it flat, it's no big deal. You look
• 39:29
  Speaker 4: a little bit taller, but no big deal. They have
• 39:32
  Speaker 4: to exaggerate it with camera angles. And I know that's
• 39:36
  Speaker 4: what they wanted, and I suggested that they put me
• 39:40
  Speaker 4: on an Apple box and shoot with the camera from
• 39:43
  Speaker 4: a low angle on close-ups of me from Burt Reynolds'
• 39:48
  Speaker 4: point of view from way down low. And then shoot
• 39:51
  Speaker 4: over my shoulder across my face with me standing on
• 39:56
  Speaker 4: the apple box looking down at birds. And I suggested
• 40:00
  Speaker 4: to Robert Aldridge that he look in a camera lens
• 40:03
  Speaker 4: and see what it looked like. And he said, you're right.
• 40:06
  Speaker 4: That's how we're going to do it. And so that
• 40:10
  Speaker 4: was the beginning of a whole new era for me
• 40:14
  Speaker 4: and being able to make suggestions and do ad-lib acting
• 40:19
  Speaker 4: and I was successful with that in the spiral of me.
• 40:24
  Speaker 4: The character became very, very likable, and I came back
• 40:29
  Speaker 4: to do another one in Moonraker. It all started with
• 40:33
  Speaker 4: The Long and Short.
• 40:35
  Speaker 2: That's definitely getting into the Bond roles. I guess you'd
• 40:41
  Speaker 2: been familiar with the Bond series, I'm assuming. Oh, yeah.
• 40:45
  Speaker 4: I'd seen every Bond movie, starting with Doctor No. and
• 40:49
  Speaker 4: I particularly liked, you know, Goldfinger and, uh, Thunderball. Uh,
• 40:54
  Speaker 4: you know, they were, uh, fun movies for young guys, uh, uh,
• 40:59
  Speaker 4: you know, all these beautiful women in bikinis and stuff.
• 41:03
  Speaker 2: Cars and gadgets.
• 41:04
  Speaker 4: What young guy wouldn't like Bond, you know?
• 41:07
  Speaker 2: Well, as you were watching them, were you thinking, you know, maybe, uh,
• 41:10
  Speaker 2: did you see yourself sort of, you know, that'd be.
• 41:12
  Speaker 4: A good role? No, no, you know, I mean, that
• 41:13
  Speaker 4: was before, you know, uh, The very beginning of it
• 41:18
  Speaker 4: was before I was even in the business. No, I
• 41:23
  Speaker 4: had no idea. I loved the Bond movies. When I
• 41:29
  Speaker 4: got a call one day, I was doing the Silver
• 41:31
  Speaker 4: Streak at 20th Century Fox. I had a good role
• 41:34
  Speaker 4: in that. I was playing a normal killer that had
• 41:39
  Speaker 4: some dialogue. He killed people with a gun. I got
• 41:44
  Speaker 4: a call from my agent, Herman Zimmerman, saying, Cubby Broccoli
• 41:48
  Speaker 4: wants to have lunch with you tomorrow at the Polo
• 41:51
  Speaker 4: Lounge at the Beverly Hills Hotel. Can you get a
• 41:54
  Speaker 4: long lunch? So I said, who's Cubby Broccoli? And I
• 41:59
  Speaker 4: didn't know who that was. He said, the James Bond producer,
• 42:05
  Speaker 4: like I should know. And I said, oh, yeah, that
• 42:08
  Speaker 4: would be great. And I said, yeah, I'm sure I can.
• 42:11
  Speaker 4: So I went to the.
• 42:14
  Speaker 4: Either the production manager or the first assistant director, and said,
• 42:18
  Speaker 4: Cubby Broccoli wants to have lunch with me tomorrow at
• 42:22
  Speaker 4: the Beverly Hills Hotel at the Polo Lounge. Can I
• 42:25
  Speaker 4: get a long lunch? And the guy, you know, he
• 42:27
  Speaker 4: knew who Cubby Broccoli was. He said, oh, Cubby Broccoli,
• 42:30
  Speaker 4: of course. And he said, you know, how about two hours? Well,
• 42:34
  Speaker 4: that dude, I said, yeah. So I drove over there,
• 42:37
  Speaker 4: and I met Mr. Broccoli, who sounded, what he talked like.
• 42:44
  Speaker 4: The Godfather. I mean, he was really Italian, and he
• 42:50
  Speaker 4: had that sort of gravelly voice, sounding like Marlon Brando
• 42:53
  Speaker 4: in The Godfather. I kind of got turned off by
• 43:00
  Speaker 4: the description of the character, though, because he said, well,
• 43:02
  Speaker 4: first of all, he said, I've got to tell you,
• 43:05
  Speaker 4: I've already interviewed David Prowse. And I knew who David
• 43:08
  Speaker 4: Prowse was, that he was the guy inside the Darth
• 43:11
  Speaker 4: Vader suit that you couldn't see that had the voice
• 43:16
  Speaker 4: of James Earl Jones. And, you know, so I'm thinking, well,
• 43:20
  Speaker 4: you know. And he said, this character that you would
• 43:24
  Speaker 4: play would have teeth maybe like tools, maybe like pliers,
• 43:31
  Speaker 4: or maybe like a shark. But the teeth would be
• 43:35
  Speaker 4: made out of steel. and he kills people with him.
• 43:40
  Speaker 4: Oh my God. You know, I've worked so hard to
• 43:45
  Speaker 4: get to do more normal roles like Reese in The
• 43:51
  Speaker 4: Silver Streak. I've turned all this kind of stuff down
• 43:56
  Speaker 4: recently and I try to turn my back on playing
• 44:00
  Speaker 4: monster roles, and this sounds like a monster role. And
• 44:05
  Speaker 4: they're talking about an actor that you couldn't even see
• 44:09
  Speaker 4: in the Darth Vader suit, who didn't even speak his
• 44:13
  Speaker 4: own lines. Now, my first reaction was, no, I don't
• 44:21
  Speaker 4: want to do this. But the other thought was, well,
• 44:27
  Speaker 4: wait a minute, Richard. It's James Bond. Maybe there's a
• 44:32
  Speaker 4: way to make it work. And I took a chance
• 44:35
  Speaker 4: and I said to Mr. Broccoli, I said, well, Mr. Broccoli,
• 44:39
  Speaker 4: first of all, whoever you hire, whether it's me or
• 44:41
  Speaker 4: somebody else, I believe that you do need an actor
• 44:44
  Speaker 4: to play this role. Because a guy that kills people
• 44:48
  Speaker 4: with his teeth, with teeth like tools or a shark
• 44:54
  Speaker 4: made out of steel, could become over the top very quickly. Yeah.
• 44:59
  Speaker 4: And I said, if I were to play the part,
• 45:01
  Speaker 4: I want to give this character something to work against
• 45:04
  Speaker 4: that to make him vulnerable, to make him have character
• 45:12
  Speaker 4: idiosyncrasies like perseverance, like frustration, vulnerability. And, you know, I said,
• 45:18
  Speaker 4: because I really don't believe that in real life that
• 45:22
  Speaker 4: killers are stone-faced killers. I think that they have a girlfriend,
• 45:28
  Speaker 4: they have a a dog or something. You know, they're
• 45:32
  Speaker 4: human beings. And I want to play them with a
• 45:34
  Speaker 4: little bit of humanity. He said, Mr. Bronco said, I
• 45:39
  Speaker 4: like that. He took his Bond movies very seriously.
• 45:43
  Speaker 6: Yeah.
• 45:44
  Speaker 4: And he realized that I took my acting very seriously.
• 45:48
  Speaker 4: And that, that, you know, I would contribute something to
• 45:53
  Speaker 4: this character. He said, what are you doing for dinner tonight?
• 45:56
  Speaker 5: Yeah.
• 45:58
  Speaker 4: And I said, I think, what did you have in mind?
• 46:01
  Speaker 4: He said, I'd like for you to come to my house.
• 46:04
  Speaker 4: I'll give you my address, and if you make it
• 46:07
  Speaker 4: around 7, I'd like for you to meet my wife,
• 46:10
  Speaker 4: my family, and the writer. So I did, and they
• 46:15
  Speaker 4: all liked me and approved of me, and I got
• 46:17
  Speaker 4: the part.
• 46:19
  Speaker 2: So how much did you sort of help create, or
• 46:21
  Speaker 2: at least sort of tweak the character of Jaws?
• 46:26
  Speaker 4: Yeah, you know, and I used what I had learned
• 46:29
  Speaker 4: promoting these movies, some of which were panned by, like
• 46:37
  Speaker 4: that Science Fiction Mystery Theater. I think I had three
• 46:40
  Speaker 4: of them. One was called The Human Duplicators. And, you know,
• 46:44
  Speaker 4: I very successfully promoted that film in Chicago and Toronto
• 46:49
  Speaker 4: and kind of kicked it off.
• 46:50
  Speaker 5: Yeah.
• 46:53
  Speaker 4: So when I arrived in England and started working on
• 46:58
  Speaker 4: the Spy Who Loved Me, one of the first things
• 47:02
  Speaker 4: they wanted to do was they wanted to do a
• 47:04
  Speaker 4: photo shoot with me and Hervé Villaché. And I said, well,
• 47:12
  Speaker 4: is Hervé in the movie? No. I said, well, you know,
• 47:15
  Speaker 4: it's kind of circusy. You know, you got the giant
• 47:18
  Speaker 4: little measure guy.
• 47:19
  Speaker 6: Yeah.
• 47:22
  Speaker 4: You know, he's not in the movie. I think we
• 47:25
  Speaker 4: can do better than that. And so they were kind
• 47:29
  Speaker 4: of ticked off at me because I think they'd already
• 47:33
  Speaker 4: flown him over. And I just didn't really think that
• 47:37
  Speaker 4: that was something I wanted to do. And fortunately for me,
• 47:44
  Speaker 4: they had all the photo editors from all the English
• 47:47
  Speaker 4: papers and the European newspapers come to Pinewood to look
• 47:53
  Speaker 4: at what was then the biggest set ever built on Pinewood,
• 47:58
  Speaker 4: the submarine set, the supertanker set. And so all these
• 48:04
  Speaker 4: photo editors were there. And I was walking with my
• 48:06
  Speaker 4: little two-year-old son, who was holding onto my little finger
• 48:11
  Speaker 4: as we're walking along. And one of the photo editors
• 48:14
  Speaker 4: was with the PR director with United Artists. And he said,
• 48:20
  Speaker 4: who's that? And the PR guy, he said, he's one
• 48:26
  Speaker 4: of the featured characters in the movie. He plays a
• 48:30
  Speaker 4: character named Jaws. And the photo editor said, is that
• 48:34
  Speaker 4: his son? He said, yes. And he said, well, if
• 48:38
  Speaker 4: you would give us a worldwide exclusive on it, I'd
• 48:42
  Speaker 4: like to get a picture of him with his son,
• 48:46
  Speaker 4: just like that, holding onto his little finger, and put
• 48:50
  Speaker 4: it on page three. which this is the guy from
• 48:55
  Speaker 4: the London Daily Mirror, and page three is reserved for bare-breasted,
• 48:59
  Speaker 4: beautiful women. And half the guys in England, at least
• 49:04
  Speaker 4: if they don't buy the newspaper, they look at it
• 49:06
  Speaker 4: and turn to page three. And Jerry Durow, the PR guy, said, well,
• 49:13
  Speaker 4: I can't give you a worldwide exclusive, but I can
• 49:16
  Speaker 4: give you one for England. And we'll get a photographer
• 49:23
  Speaker 4: out also to take a picture for the rest of
• 49:27
  Speaker 4: the world. Anyway, not only did it end up on
• 49:30
  Speaker 4: page three, but on the front page up in the
• 49:35
  Speaker 4: masthead where it says Daily Mirror, there was an insect
• 49:40
  Speaker 4: with my hand and this little hand holding onto my
• 49:45
  Speaker 4: little finger and it said, Super Dad and Son, see
• 49:49
  Speaker 4: page three. So that happened. And then when we did Moonraker,
• 49:56
  Speaker 4: I remember our middle son was born in Paris while
• 50:05
  Speaker 4: we were filming the studios in Paris, and he was
• 50:10
  Speaker 4: born at the Hotel Americano in Neuilly, and he was
• 50:16
  Speaker 4: a little tiny baby. I remember my oldest son was
• 50:20
  Speaker 4: all excited about having a brother he could play with
• 50:23
  Speaker 4: until he saw him, and he was so disappointed because
• 50:26
  Speaker 4: I was holding him in my hands, and my hands
• 50:30
  Speaker 4: were huge, and his little baby was really tiny. But
• 50:35
  Speaker 4: it made a great picture.
• 50:36
  Speaker 1: Yeah.
• 50:37
  Speaker 4: And I was telling Saul Cooper, the PR guy on
• 50:43
  Speaker 4: the movie Moonraker, about it. And he kind of ignored me.
• 50:51
  Speaker 4: And I said, it would be a great human interest picture, Saul.
• 50:56
  Speaker 4: And he just ignored me. And so I had flown
• 51:00
  Speaker 4: my mother-in-law and her husband over to help my wife
• 51:03
  Speaker 4: with the baby. And I had her take a Polaroid.
• 51:07
  Speaker 4: with me holding the baby with my huge hands. And
• 51:11
  Speaker 4: the next day I took the Polaroid in, and they
• 51:16
  Speaker 4: have like bars in the studios in Paris, and Saul
• 51:20
  Speaker 4: was at the bar with a journalist, happened to be
• 51:25
  Speaker 4: a journalist from the Daily Mirror again. And I said,
• 51:33
  Speaker 4: here's what that picture looks like, Saul. and I put
• 51:36
  Speaker 4: the picture on the bar. And the journalist from the
• 51:40
  Speaker 4: Daily Mirror said, Mr. Cooper, if you give us an
• 51:46
  Speaker 4: exclusive on that photo worldwide, I'll put it on page three.
• 51:51
  Speaker 4: It's a great photo. And again, you know, Saul said, well,
• 51:57
  Speaker 4: we're going to take a proper picture tomorrow with our
• 52:00
  Speaker 4: own photographer, and I can't give you a worldwide, but
• 52:02
  Speaker 4: I can give it to you for England. And, uh,
• 52:05
  Speaker 4: So it ended up again on page three of the
• 52:08
  Speaker 4: London Daily Mirror, where usually the bare-breasted women go. And,
• 52:13
  Speaker 4: you know, it just showed that you can do something
• 52:16
  Speaker 4: that has human interest, and you don't have to resort
• 52:21
  Speaker 4: to cheeky stuff.
• 52:24
  Speaker 2: And it shows you marketing yourself and your movies. That's impressive, too,
• 52:28
  Speaker 2: for a project that was that big, that you're kind of...
• 52:32
  Speaker 2: Taking the reins at times, yeah.
• 52:33
  Speaker 4: I had a lot of experience doing that, and, you know,
• 52:37
  Speaker 4: I learned from my father that you had to sell yourself, and,
• 52:42
  Speaker 4: you know, I used to run these full-page ads that,
• 52:45
  Speaker 4: you know, he impressed upon me, you know, Henry Ford's motto,
• 52:48
  Speaker 4: nothing ventured, nothing gained. You know, you have to invest
• 52:50
  Speaker 4: in yourself sometimes, and his other motto was, the harder
• 52:55
  Speaker 4: I work, the luckier I get, you know, and so
• 52:58
  Speaker 4: I worked at it, and I invested in my career, and...
• 53:02
  Speaker 4: I remember we got a call from a publication called
• 53:07
  Speaker 4: Fonds de Marche, which is known as a real tabloid
• 53:13
  Speaker 4: type newspaper in Paris, and one that you want to avoid. And,
• 53:19
  Speaker 4: you know, people that are desperate for publicity will get,
• 53:22
  Speaker 4: you know, whatever publicity they can get, you know, that's
• 53:26
  Speaker 4: sleazy and bad. They wanted to do an interview with me, and...
• 53:32
  Speaker 4: My experience had been, I had been interviewed and had
• 53:37
  Speaker 4: photo sessions with the Star several times, the National Enquirer
• 53:43
  Speaker 4: several times, and even the Globe, Midnight Globe. And they
• 53:49
  Speaker 4: were all very positive and very good stories and very
• 53:53
  Speaker 4: good photo layouts. And it was because I impressed upon
• 53:57
  Speaker 4: them that my family was very important to me and
• 54:00
  Speaker 4: that I You know, I was not interested in off-color,
• 54:04
  Speaker 4: sleazy publicity. And if they could keep it positive, I'd
• 54:07
  Speaker 4: be happy to cooperate with them. And so I knew
• 54:12
  Speaker 4: that this Franz DeMarce, they would do a story regardless
• 54:15
  Speaker 4: of whether they interviewed me, and it wouldn't be good.
• 54:18
  Speaker 4: So I said, okay, we'll do the story, providing that
• 54:24
  Speaker 4: you give us a letter from your editor saying, stating
• 54:28
  Speaker 4: that you won't publish it without our approval. And so
• 54:34
  Speaker 4: they came out with a journalist and a photographer, and
• 54:38
  Speaker 4: the letter said that they would read me the story
• 54:42
  Speaker 4: over the telephone before it was published. Nothing about approval.
• 54:51
  Speaker 4: You know, I guess they think that all big guys
• 54:53
  Speaker 4: are stupid or something. I said, no, that's not going
• 54:57
  Speaker 4: to do, guys. And so they got the editor on
• 55:01
  Speaker 4: the phone. And he said, look, we have to have
• 55:05
  Speaker 4: an angle. We have to have a hook. That's how we,
• 55:11
  Speaker 4: you know. I said, let me ask you this. Who's
• 55:13
  Speaker 4: your readership? He said, middle-aged women. I said, look, I'm
• 55:18
  Speaker 4: here with my wife, my two children. I'm having a
• 55:22
  Speaker 4: third child here in Paris. You know, I've got my
• 55:27
  Speaker 4: mother-in-law and her husband here helping out. You know, I
• 55:32
  Speaker 4: think that that would be of interest to a lot
• 55:34
  Speaker 4: of middle-aged housewives who wish they had a husband like that.
• 55:39
  Speaker 4: The guy said, well, you know what, you're right. So
• 55:42
  Speaker 4: they did a really great story with some great photos. And,
• 55:46
  Speaker 4: you know, their headline was a little bit, you know,
• 55:50
  Speaker 4: I think it was Richard Keel without his wife, he
• 55:52
  Speaker 4: would be nothing. But that was okay. It was still
• 55:55
  Speaker 4: a very positive story. But I, you know, so I
• 55:59
  Speaker 4: was able to do a lot of publicity all over
• 56:02
  Speaker 4: the world for the first film. And I think that
• 56:05
  Speaker 4: helped me get, you know, come back in the second one.
• 56:09
  Speaker 2: Yeah. Were you, it was originally, he wasn't supposed to
• 56:12
  Speaker 2: make it through that first.
• 56:13
  Speaker 1: Movie and they.
• 56:13
  Speaker 4: No, I was supposed to die. Yeah.
• 56:15
  Speaker 2: They changed that because you were just kind of working
• 56:18
  Speaker 2: so well or.
• 56:20
  Speaker 4: It was going really, really well. We were getting a
• 56:25
  Speaker 4: lot of positive responses in the dailies from the crew
• 56:34
  Speaker 4: and the other actors. The character was entertaining. Roger Moore
• 56:42
  Speaker 4: was actually helping that along by playing to the Jaws
• 56:47
  Speaker 4: character and making him more fun and um and the
• 56:54
  Speaker 4: stunt coordinator the late Bob Simmons uh had a weekly
• 56:59
  Speaker 4: production meeting the one thing that the Bond films do
• 57:03
  Speaker 4: that I think helps them a lot is that they'll
• 57:06
  Speaker 4: have weekly meetings and they'll look for suggestions from their
• 57:09
  Speaker 4: department heads and uh a lot of times they have
• 57:14
  Speaker 4: ideas on how to save money and uh For an example,
• 57:22
  Speaker 4: they rehearse stunts when you're not working as an actor
• 57:26
  Speaker 4: in the scene over there. They build a mock-up set
• 57:30
  Speaker 4: like in the train, and they'll do all that train
• 57:33
  Speaker 4: fight thing with the stuntmen and the actors like myself.
• 57:37
  Speaker 4: And it seems at first a little boring, but then
• 57:40
  Speaker 4: you start getting ideas on how to improve it, make
• 57:43
  Speaker 4: it better. And by having these production meetings... They come
• 57:48
  Speaker 4: up with ideas that really work, that save a lot
• 57:51
  Speaker 4: of money. Like in the Silver Street, they shot the
• 57:55
  Speaker 4: train sequence in the daytime and all the scenery going
• 57:59
  Speaker 4: by in the background, and they had to match everything.
• 58:01
  Speaker 4: So when they did a close-up or reverse, they had
• 58:05
  Speaker 4: to have the plate and the projection, the back projection,
• 58:08
  Speaker 4: the same exact place so that it matched when they
• 58:11
  Speaker 4: went to a close-up. And it was tedious and time-consuming
• 58:16
  Speaker 4: and difficult. where in England, they shot it at night,
• 58:21
  Speaker 4: the scene in the train, and they had this thing
• 58:24
  Speaker 4: going around and around, and it had little holes in
• 58:31
  Speaker 4: it with light behind it, so little lights flickered in
• 58:34
  Speaker 4: the background, and that was it. And they didn't have
• 58:36
  Speaker 4: to worry about matching anything. It went so much faster.
• 58:40
  Speaker 4: But anyway, Bob Simmons, the late Bob Simmons, the stunt coordinator, said, Cubby,
• 58:46
  Speaker 4: are you sure you want to kill Jaws off? And
• 58:51
  Speaker 4: Cubby said, well, of course. We always kill the villain. See,
• 58:55
  Speaker 4: I wouldn't have been nice if you would have had
• 58:57
  Speaker 4: the option to be able to bring our job back.
• 59:00
  Speaker 4: He said, Bob, he said, you know, Jaws gets thrown
• 59:07
  Speaker 4: in a tank with a shark. What are you suggesting?
• 59:10
  Speaker 4: And Bob Simmons said, he kills the shark. And Cubby
• 59:16
  Speaker 4: kind of laughed and said, I don't know. And Bob said,
• 59:23
  Speaker 4: why don't you shoot it both ways? That way you
• 59:26
  Speaker 4: have the ability to make a choice. And he said,
• 59:31
  Speaker 4: that's a good idea. So I found out from my
• 59:34
  Speaker 4: agent that they were going to hold me over one
• 59:37
  Speaker 4: extra week when the whole film was completed and shoot
• 59:42
  Speaker 4: this alternative ending where I survive. And then towards the
• 59:48
  Speaker 4: end of the movie, that extra week put us into
• 59:53
  Speaker 4: my wife's ninth month of pregnancy. And they wanted her
• 59:58
  Speaker 4: to either fly back before then or agree to stay
• 1:00:02
  Speaker 4: in England and have the baby in England. And she
• 1:00:06
  Speaker 4: didn't want to do either one. She wanted to be home,
• 1:00:08
  Speaker 4: and she didn't want to fly back without me. And
• 1:00:12
  Speaker 4: in order to shoot that alternative ending and hold me over,
• 1:00:16
  Speaker 4: her first week of her ninth month, Cubby Brockley flew
• 1:00:22
  Speaker 4: his own personal physician, first class, paid him to fly
• 1:00:28
  Speaker 4: with us in case she started labor. Yeah. That's the
• 1:00:31
  Speaker 4: kind of a great guy he was. He was like
• 1:00:33
  Speaker 4: a great father, a great figure to our family. A
• 1:00:36
  Speaker 4: terrific guy. But anyway, the alternate ending, I didn't know
• 1:00:42
  Speaker 4: whether I was going to live or die. And prior
• 1:00:46
  Speaker 4: to the big premiere, I got a call. They wanted
• 1:00:52
  Speaker 4: me to come out to a special blue-collar screening. And
• 1:00:59
  Speaker 4: by blue collar, there weren't going to be any directors
• 1:01:02
  Speaker 4: or actors or writers or producers, just working type people
• 1:01:09
  Speaker 4: like the construction people, the, um, the property people, uh,
• 1:01:18
  Speaker 4: the security people, maybe some secretaries, uh, and their wives
• 1:01:23
  Speaker 4: and husbands and children. And, uh, And they said, we
• 1:01:29
  Speaker 4: want to sneak you in the back. We don't want
• 1:01:31
  Speaker 4: anybody in the audience to know that you're there, but
• 1:01:33
  Speaker 4: we want you to see this movie, but now that
• 1:01:35
  Speaker 4: it's done, we'll give you a little advanced screening of it.
• 1:01:40
  Speaker 4: So I get out there, and they sneak me in
• 1:01:43
  Speaker 4: the back, and all the lights are out. I'm in
• 1:01:44
  Speaker 4: the very back row. And when the movie is ending,
• 1:01:51
  Speaker 4: and the underwater city's all blowing up, and... You know,
• 1:01:58
  Speaker 4: I've been thrown in the tank with the sharks, and
• 1:02:02
  Speaker 4: everything's coming apart, and it's taking forever. And Bond and
• 1:02:07
  Speaker 4: Anya are trying to escape. And I'm thinking, well, I
• 1:02:13
  Speaker 4: guess I'm done for. I guess I died. All of
• 1:02:19
  Speaker 4: a sudden, they show the surface of the ocean. and
• 1:02:23
  Speaker 4: Jaws pops out of the water and starts swimming to
• 1:02:26
  Speaker 4: the shore. And the audience went nuts. They screamed, they applauded,
• 1:02:33
  Speaker 4: they cheered. And all these MGM, UA people are looking
• 1:02:40
  Speaker 4: back at me with big smiles on their faces, knowing,
• 1:02:44
  Speaker 4: having seen it before with an audience, test marketing, that
• 1:02:49
  Speaker 4: was the reaction. They wanted to see... how I reacted
• 1:02:53
  Speaker 4: to it. I was just blown away. What a pleasant surprise,
• 1:02:59
  Speaker 4: you know, from a part that I almost didn't take
• 1:03:02
  Speaker 4: to doing something that was so popular and so well-received.
• 1:03:09
  Speaker 2: Yeah, yeah. He became such an iconic character just sort
• 1:03:14
  Speaker 2: of in pop culture at that time.
• 1:03:15
  Speaker 4: Yeah, you know, and it was, you know, Jaws has
• 1:03:20
  Speaker 4: been voted several times that the most popular villain and
• 1:03:24
  Speaker 4: the most popular Bond character. And, you know, it's just incredible,
• 1:03:29
  Speaker 4: you know, after all these years and all the, you know,
• 1:03:32
  Speaker 4: 50 years of Bond, that I've become a Bond icon.
• 1:03:38
  Speaker 2: Would you have liked to have brought him, well, maybe
• 1:03:41
  Speaker 2: not even him, but have gotten a chance to work with?
• 1:03:43
  Speaker 2: the different bonds as you went down? They kind of
• 1:03:46
  Speaker 2: rebooted it lately. Would it have been interesting to work
• 1:03:49
  Speaker 2: yourself into one of those movies?
• 1:03:50
  Speaker 4: Yeah, I think it makes it fresh and keeps it
• 1:03:55
  Speaker 4: from being boring. I thought Casino Royale was a great
• 1:04:01
  Speaker 4: movie and I'm looking forward to this one. I'm sure
• 1:04:04
  Speaker 4: it's going to be really, really good. Skyfall.
• 1:04:08
  Speaker 2: Jaws being such a huge character Did you worry at
• 1:04:13
  Speaker 2: the time that it was going to be hard to
• 1:04:14
  Speaker 2: get away from that as far as finding new roles
• 1:04:17
  Speaker 2: and trying to break away from it?
• 1:04:19
  Speaker 4: Yeah, a little bit. What I learned, it's like the girl,
• 1:04:25
  Speaker 4: the character in Oklahoma who sings, I'm just a girl
• 1:04:30
  Speaker 4: who can't say no. She gets typecast, right?
• 1:04:34
  Speaker 2: Mm-hmm.
• 1:04:36
  Speaker 4: The way you avoid being typecast is to say no. And.
• 1:04:42
  Speaker 4: Um, you know, I was, uh, uh, asked to do, uh,
• 1:04:48
  Speaker 4: the Austin Powers movies as sort of a Jaws sort
• 1:04:52
  Speaker 4: of character.
• 1:04:53
  Speaker 5: Yeah.
• 1:04:54
  Speaker 4: A comic. And I, you know, I didn't do it. Uh,
• 1:04:58
  Speaker 4: first of all, I didn't do it because I thought
• 1:05:00
  Speaker 4: it would be, uh, a knife in the back to
• 1:05:02
  Speaker 4: bond and, um, to, you know, it would, it would have, uh,
• 1:05:07
  Speaker 4: turned me into, you know, that Jaws character, period. And,
• 1:05:11
  Speaker 4: you know, so I did films like Force 10 from Navarone,
• 1:05:16
  Speaker 4: where I played a Chetnik, who's really a Nazi sympathizer,
• 1:05:21
  Speaker 4: a real evil guy who beats up women and is
• 1:05:24
  Speaker 4: nasty to young boys, but pretends to be a partisan
• 1:05:29
  Speaker 4: and fool the Allies into thinking that he's a good guy.
• 1:05:33
  Speaker 4: And then I did.
• 1:05:36
  Speaker 4: I did films, So Fine with Ryan O'Neill. I did
• 1:05:43
  Speaker 4: a movie in Rome called The Humanoid, sort of a
• 1:05:48
  Speaker 4: spaghetti Star Wars, which was a lot of fun, which
• 1:05:51
  Speaker 4: also starred Corinne Clarie and Barbara Bach. You know, these
• 1:05:56
  Speaker 4: films would not have happened without the James Bond, Jaws
• 1:06:00
  Speaker 4: character having played those roles.
• 1:06:03
  Speaker 2: Yeah, I was just watching some of the Humanoid lately.
• 1:06:06
  Speaker 2: I was going to ask about that. Where did that
• 1:06:09
  Speaker 2: get shot? Was it Italian?
• 1:06:11
  Speaker 4: Yeah, well, you know, you figure Force 10 from Navarone
• 1:06:14
  Speaker 4: had myself and Barbara Bach. And so you have to
• 1:06:19
  Speaker 4: kind of figure that was because of the Bond film
• 1:06:23
  Speaker 4: for both of us. And then, you know, Humanoid had
• 1:06:29
  Speaker 4: Corinne Clarie and Barbara Bach and myself. So you've got
• 1:06:34
  Speaker 4: to figure it's because of the Bond films. I did
• 1:06:38
  Speaker 4: two films in Taiwan, one in Hong Kong, which was
• 1:06:41
  Speaker 4: the biggest grocer of all time up to that point
• 1:06:45
  Speaker 4: in history in Hong Kong. And then did all kinds
• 1:06:51
  Speaker 4: of commercials, Greco Milk for Japan, Sharp Electronics for Japan,
• 1:07:00
  Speaker 4: drill bit commercial for drill bit high speed carbide drills
• 1:07:05
  Speaker 4: in Lyon, France. I did When We're Smiling, the beautiful
• 1:07:14
  Speaker 4: teeth people for Teledyne Waterpik. I did Mug Root Beer
• 1:07:23
  Speaker 4: and PepsiCo's Mountain Dew commercial. And I did for England
• 1:07:29
  Speaker 4: Shredded Wheat, and, you know, all these were because of
• 1:07:33
  Speaker 4: the Bond film, so, you know. And they were all different,
• 1:07:36
  Speaker 4: and certainly I wasn't in Jaws with any of them.
• 1:07:40
  Speaker 2: Funny that you'd worked in the middle there with Harrison Ford,
• 1:07:43
  Speaker 2: because that's sort of like the same thing he found
• 1:07:46
  Speaker 2: himself in, in these iconic roles and then trying to
• 1:07:48
  Speaker 2: not be typecast as that.
• 1:07:50
  Speaker 4: Yeah. But I think that Harrison did a great job.
• 1:07:55
  Speaker 4: You know, particularly I liked... Sabrina.
• 1:08:00
  Speaker 5: Yeah, yeah.
• 1:08:01
  Speaker 4: I thought it was better than the original movie.
• 1:08:03
  Speaker 2: He definitely broke out of even his comfort zone and
• 1:08:07
  Speaker 2: started doing stuff.
• 1:08:07
  Speaker 4: That was very different. Regarding Henry.
• 1:08:10
  Speaker 2: Yeah, that was a really different turn for him at
• 1:08:13
  Speaker 2: the time, yeah.
• 1:08:14
  Speaker 4: Yeah, you know, I think he's an underrated actor. Another
• 1:08:18
  Speaker 4: guy is Robert Redford. I mean, you know, just the
• 1:08:21
  Speaker 4: look that he gives Barbra Streisand and the way we were,
• 1:08:24
  Speaker 4: you know, when he sees her, you know, he's married
• 1:08:26
  Speaker 4: to somebody else and you know, could it have been?
• 1:08:29
  Speaker 4: It was great. You know, when you're a pretty boy,
• 1:08:36
  Speaker 4: it's kind of like with Roger Moore, you know, it's
• 1:08:38
  Speaker 4: difficult to be taken seriously. So I've never had that problem.
• 1:08:44
  Speaker 4: I'm always taken too seriously. It's hard for me to
• 1:08:46
  Speaker 4: tell a joke.
• 1:08:48
  Speaker 2: People are afraid to laugh. Oh, I was going to
• 1:08:53
  Speaker 2: look at some of the other ones. You also worked
• 1:08:56
  Speaker 2: with Clint Eastwood in Pale Rider. What was he like?
• 1:09:00
  Speaker 4: Yeah, and again, I mean, that's totally different from Jaws.
• 1:09:05
  Speaker 4: The only thing similar would be that I wasn't totally bad.
• 1:09:10
  Speaker 4: You know, when it came to watching the young girl
• 1:09:13
  Speaker 4: get raped, I put a stop to that. Or when
• 1:09:16
  Speaker 4: they were going to shoot Clint in the back with
• 1:09:19
  Speaker 4: the rifle you know I pushed the gun down you
• 1:09:23
  Speaker 4: know so I think that came about both those scenes
• 1:09:30
  Speaker 4: because of you know what I had done in Moonraker
• 1:09:34
  Speaker 4: and people liked.
• 1:09:34
  Speaker 2: It what was he like as a director he is a.
• 1:09:38
  Speaker 4: Really good businessman he he's known in love by Warner
• 1:09:43
  Speaker 4: Brothers for bringing all of his movies in ahead of
• 1:09:47
  Speaker 4: schedule And under budget. And, you know, it's a little
• 1:09:52
  Speaker 4: bit different working on a Clint Eastwood movie than, say,
• 1:09:55
  Speaker 4: a Burt Reynolds movie. In a Burt Reynolds movie, everybody
• 1:09:58
  Speaker 4: has a motorhome. Everybody has a golf cart. And in
• 1:10:02
  Speaker 4: a Clint Eastwood movie, you don't have either one. But,
• 1:10:05
  Speaker 4: you know, he's really a nice guy. He got our
• 1:10:09
  Speaker 4: family a condo in Sun Valley that would sleep about
• 1:10:14
  Speaker 4: 15 people. Wow. And we were able to have friends
• 1:10:18
  Speaker 4: come up and stay. And I remember one week, the
• 1:10:23
  Speaker 4: friends went out to the location, and they were having
• 1:10:27
  Speaker 4: the catered lunch with us. And Clint came over and
• 1:10:33
  Speaker 4: introduced himself. He said, hi, to our friends. I'm Clint Eastwood.
• 1:10:37
  Speaker 4: Like they didn't know. And I thought that was really,
• 1:10:40
  Speaker 4: really big of him. To me, it showed a lot
• 1:10:44
  Speaker 4: of class. Definitely.
• 1:10:46
  Speaker 2: One of the other ones I wanted to touch on,
• 1:10:49
  Speaker 2: The Giant of Thunder Mountain, that's one you actually wrote
• 1:10:52
  Speaker 2: and produced.
• 1:10:53
  Speaker 4: Yeah, I co-wrote it with a guy named Tony Lozito,
• 1:10:57
  Speaker 4: and I wrote the original story, and then co-wrote the screenplay,
• 1:11:04
  Speaker 4: and co-executive produced it. I probably did 75% of the
• 1:11:10
  Speaker 4: executive producing. Selected the main actors, and we had some
• 1:11:22
  Speaker 4: good ones. Jack Dillon was sensational in it, and I
• 1:11:28
  Speaker 4: selected and helped to design the sets, and they came
• 1:11:34
  Speaker 4: out really well.
• 1:11:35
  Speaker 2: What made you want to move into writing and producing,
• 1:11:40
  Speaker 2: and what led you into that?
• 1:11:42
  Speaker 4: Well, you know, it was just... producer friend of mine
• 1:11:48
  Speaker 4: had come up with a story idea and, uh, you know,
• 1:11:54
  Speaker 4: it wasn't something that really appealed to me. And then, uh, he, uh,
• 1:12:00
  Speaker 4: the writer that was working on it came up with
• 1:12:03
  Speaker 4: a kind of a story idea about a giant. And
• 1:12:07
  Speaker 4: I just thought it could be executed better and, uh,
• 1:12:10
  Speaker 4: written better. And, uh, you know, uh, we, we, uh,
• 1:12:15
  Speaker 4: We bought the basic idea and took that and expanded
• 1:12:19
  Speaker 4: on it. It was a movie that was about prejudice.
• 1:12:23
  Speaker 4: It was based on my real-life experiences of how little
• 1:12:29
  Speaker 4: children would be totally unafraid of me. Right now on
• 1:12:33
  Speaker 4: my Facebook page, on the Richard Kiel page, there's a
• 1:12:37
  Speaker 4: photo of a five-month-old baby in my hands and my arms.
• 1:12:42
  Speaker 4: He's absolutely totally unafraid. And it shows how parents will
• 1:12:48
  Speaker 4: start teaching young kids to be afraid of the strangers
• 1:12:54
  Speaker 4: and big people. I would find myself in a supermarket
• 1:13:01
  Speaker 4: checkout line and maybe a little girl, four, five, six
• 1:13:04
  Speaker 4: or seven years old, fascinated with me. maybe she would
• 1:13:09
  Speaker 4: look at me and smile. And if I smiled back
• 1:13:12
  Speaker 4: and the mother saw that, she would grab the little
• 1:13:15
  Speaker 4: girl and protect her from the giant. And it's because of,
• 1:13:21
  Speaker 4: it's not as much now as it was 20 years
• 1:13:23
  Speaker 4: ago or 30 years ago, but things like the Frankenstein
• 1:13:29
  Speaker 4: monster with the little girl, or of mice and men,
• 1:13:36
  Speaker 4: all of the giants were, the big guys were stupid
• 1:13:40
  Speaker 4: and they were killed, you know, little girls by accident
• 1:13:45
  Speaker 4: or whatever, you know. And it's kind of like, you know,
• 1:13:53
  Speaker 4: I want to dispel that. And it's kind of like
• 1:13:56
  Speaker 4: the historic novel I wrote, Kentucky Lion, the true story
• 1:14:01
  Speaker 4: of Cassius Clay.
• 1:14:03
  Speaker 12: Yeah.
• 1:14:04
  Speaker 4: Roots did a great job of painting all the people
• 1:14:06
  Speaker 4: in the South as being whip-wielding monsters that raped black
• 1:14:13
  Speaker 4: slave women. What I came to find out was that
• 1:14:19
  Speaker 4: only 7% of the people in the South owned slaves,
• 1:14:23
  Speaker 4: and that the other 93% were adversely affected by slavery. So,
• 1:14:30
  Speaker 4: you know, to me, when I have a chance to
• 1:14:32
  Speaker 4: write a movie or a book, you know, there's an
• 1:14:36
  Speaker 4: opportunity to bring out the truth and to get people
• 1:14:40
  Speaker 4: to look at things a little bit differently. I try
• 1:14:43
  Speaker 4: to do that.
• 1:14:44
  Speaker 2: And it's an interesting way to go about it, to
• 1:14:46
  Speaker 2: deliver it to kids at that point when they're still
• 1:14:48
  Speaker 2: kind of, you know, accepting of all that.
• 1:14:51
  Speaker 4: Yeah. Yeah, I was, you know, I have four children.
• 1:14:56
  Speaker 4: My children are the love of my life, and I have...
• 1:14:59
  Speaker 4: six grandchildren. And they love me. The little one, Cadence,
• 1:15:05
  Speaker 4: when he comes through the front door, he always runs
• 1:15:08
  Speaker 4: to me and jumps on my lap.
• 1:15:10
  Speaker 3: Papa!
• 1:15:11
  Speaker 4: Papa! And I find that that's the case. And big
• 1:15:20
  Speaker 4: guys are usually pretty pussycats. You know, they They don't
• 1:15:28
  Speaker 4: have to prove that they're tough. And it's usually the
• 1:15:31
  Speaker 4: guy that's like 5'6 that has the chip on his shoulder.
• 1:15:36
  Speaker 4: And the guy that has a little bit too much
• 1:15:39
  Speaker 4: to drink that's 5'6 is the one you have to
• 1:15:41
  Speaker 4: watch out for.
• 1:15:43
  Speaker 2: Well, and then the only other thing I was going
• 1:15:45
  Speaker 2: to say, at Thunder Mountain, forget James Bond, you get
• 1:15:48
  Speaker 2: to fight Bart the Bear. I mean, that was amazing.
• 1:15:51
  Speaker 4: Yeah, right. Yeah, well, you know, of course I didn't
• 1:15:56
  Speaker 4: actually fight the bear. The owner's trainer did that. But,
• 1:16:04
  Speaker 4: you know, they put my close-ups. I did have to
• 1:16:08
  Speaker 4: whack him with a balsa wood log. And he just
• 1:16:13
  Speaker 4: loved it. He wanted to fight with me.
• 1:16:17
  Speaker 2: How much planning did you have to do, especially being
• 1:16:20
  Speaker 2: producer on that one, in dealing with bringing in Bart?
• 1:16:24
  Speaker 4: Well, with Bart, you know, he was a lovable bear
• 1:16:32
  Speaker 4: that was being fed ripe figs and Hawaiian punch in
• 1:16:44
  Speaker 4: big-gallon tins. They would throw him salmon, fresh salmon, figs,
• 1:16:52
  Speaker 4: and a big can, one of those 32-ounce cans of
• 1:16:56
  Speaker 4: Hawaiian punch. And he would chop it with his teeth
• 1:16:59
  Speaker 4: and tilt his head back and go, go, go, go, go,
• 1:17:02
  Speaker 4: Hawaiian punch. And he was always, like, burping. And they
• 1:17:07
  Speaker 4: kept him so full and satisfied that he would never
• 1:17:09
  Speaker 4: want to, you know, eat a human being.
• 1:17:12
  Speaker 2: And, however.
• 1:17:17
  Speaker 4: uh... when it came to the little girl and even
• 1:17:19
  Speaker 4: to me uh... like when he started to move towards
• 1:17:23
  Speaker 4: me uh... when i was uh.
• 1:17:27
  Speaker 4: When i hit him with the uh... balsa wood log uh...
• 1:17:31
  Speaker 4: you know it was all in front for him and uh...
• 1:17:34
  Speaker 4: however they grabbed me and pulled me underneath the hot
• 1:17:37
  Speaker 4: wire and they wouldn't let the little girl go anywhere
• 1:17:40
  Speaker 4: near him uh... so you know he was still a
• 1:17:44
  Speaker 4: wild animal and The trainer, Doug Seuss, did have scars
• 1:17:50
  Speaker 4: all over his chest and body from the huge nails
• 1:17:54
  Speaker 4: of this Bart the Bear. Bart not trying to hurt him,
• 1:17:59
  Speaker 4: but just being playful.
• 1:18:00
  Speaker 2: Just being huge, yeah.
• 1:18:02
  Speaker 4: Yeah, I mean, he could swipe your head off with
• 1:18:05
  Speaker 4: a single blow.
• 1:18:06
  Speaker 2: Yeah, but turned in some amazing performances. It's funny how
• 1:18:10
  Speaker 2: well-trained he was.
• 1:18:11
  Speaker 4: Yeah, he was really well-trained. I'd seen him in the
• 1:18:14
  Speaker 4: movie The Bear. And when we were putting the movie together,
• 1:18:22
  Speaker 4: some of the people, in order to save money, wanted
• 1:18:25
  Speaker 4: to use a different bear in the stuntman. I said, well,
• 1:18:29
  Speaker 4: you know, we know that Bart can do it, but
• 1:18:32
  Speaker 4: we don't know whether this other bear can do it.
• 1:18:35
  Speaker 4: So if you want to, you know, Mr. Stuntman and
• 1:18:39
  Speaker 4: second unit camera guy, if you want to fly to
• 1:18:42
  Speaker 4: where this other bear is and do a bear fight.
• 1:18:46
  Speaker 4: So I can see it, you know, but we're not
• 1:18:50
  Speaker 4: going to do it on the day and hope for
• 1:18:52
  Speaker 4: the best. I don't want to see people going to
• 1:18:55
  Speaker 4: the hospital. You know, the guy didn't want to do it,
• 1:18:59
  Speaker 4: so we ended up paying the money for a well-trained bear.
• 1:19:04
  Speaker 2: Well, I guess the other one I wanted to hit
• 1:19:06
  Speaker 2: on was you had a pretty big resurgence there in,
• 1:19:10
  Speaker 2: in a whole new generation with, with Happy Gilmore. Uh,
• 1:19:12
  Speaker 2: how did that come about?
• 1:19:14
  Speaker 4: You're absolutely right. Uh, I think it came about because, uh, the, uh, uh,
• 1:19:20
  Speaker 4: the Longest Yard movie, uh, and, uh, uh, oh, the,
• 1:19:26
  Speaker 4: the star of Happy Gilmore.
• 1:19:28
  Speaker 2: Adam Sandler, yeah.
• 1:19:29
  Speaker 4: Adam Sandler, uh, he liked, he loved that movie, and
• 1:19:32
  Speaker 4: of course he did a remake of it, but, uh, and, uh,
• 1:19:37
  Speaker 4: So he wanted me to be in the movie, so
• 1:19:39
  Speaker 4: I didn't have to interview for it or anything. They
• 1:19:42
  Speaker 4: just hired me and cast me. And it's become my
• 1:19:49
  Speaker 4: second biggest fan base. Young people coming up and saying,
• 1:19:55
  Speaker 4: you can count on me waiting for you in the
• 1:19:56
  Speaker 4: parking lot. Or, your ball struck my foot. Or, you
• 1:20:03
  Speaker 4: forgot your nine iron, you know. Hold still! You know,
• 1:20:08
  Speaker 4: they know all these lines, and it's just terrific. And
• 1:20:11
  Speaker 4: now I'm getting the young kids from playing the voice
• 1:20:16
  Speaker 4: of Vladimir entangled.
• 1:20:18
  Speaker 5: Yeah, yeah.
• 1:20:19
  Speaker 4: You know, I've got some great posters that feature that
• 1:20:22
  Speaker 4: character and the leading man, and, you know, of course,
• 1:20:27
  Speaker 4: they recognize that character, Vladimir, immediately, and... It's a very
• 1:20:34
  Speaker 4: well-done movie, very popular with the young kids and their
• 1:20:38
  Speaker 4: parents and grandparents.
• 1:20:40
  Speaker 2: Yeah, a whole new area to move into doing voice work.
• 1:20:43
  Speaker 2: You're doing that and video games and stuff like that.
• 1:20:46
  Speaker 4: Yeah, and I've been very fortunate, too. I've done, I think,
• 1:20:49
  Speaker 4: three or four video games, everything or nothing. And I did... Bond, Legends,
• 1:21:03
  Speaker 4: The Moonraker Mission, which is almost like a movie. That
• 1:21:08
  Speaker 4: should be out any time now. Maybe it is out.
• 1:21:11
  Speaker 2: Well, I know you've mentioned a few different movies. I
• 1:21:14
  Speaker 2: know we just sort of like to touch base with
• 1:21:16
  Speaker 2: people and see what they like in their personal life
• 1:21:19
  Speaker 2: and what you like to watch as far as movies.
• 1:21:21
  Speaker 2: Are there, you know, something you've seen?
• 1:21:23
  Speaker 4: Well, you can tell, you know, I like movies like
• 1:21:25
  Speaker 4: Regarding Henry.
• 1:21:27
  Speaker 12: Mm-hmm.
• 1:21:28
  Speaker 4: My family accuses me of being a guy that likes
• 1:21:31
  Speaker 4: chick flicks. Nice. I, I find myself watching, uh, Hallmark
• 1:21:38
  Speaker 4: and the Lifetime show because I, I just happen to like,
• 1:21:41
  Speaker 4: you know, old fashioned romance and, uh, uh, as opposed
• 1:21:47
  Speaker 4: to strictly, you know, action, uh, CGI stuff. And, uh, so,
• 1:21:55
  Speaker 4: you know, movies like, like that, uh, would be Sabrina
• 1:22:00
  Speaker 4: regarding Henry and Casablanca. I saw one recently on the
• 1:22:09
  Speaker 4: airplane called The Five-Year Engagement, which is pretty good.
• 1:22:13
  Speaker 2: Did you have anything new coming out that you wanted
• 1:22:16
  Speaker 2: to tell people to look for or spread the word on?
• 1:22:18
  Speaker 4: Yeah. We started a project called Overlord, which originally was
• 1:22:25
  Speaker 4: going to be for television. And along the way, some
• 1:22:32
  Speaker 4: investors saw some of the scenes, and I play an
• 1:22:37
  Speaker 4: intellectual badass in it who is a handicapped guy who
• 1:22:41
  Speaker 4: lost the use of his legs trying to save the
• 1:22:44
  Speaker 4: women and children from the aliens who actually kill his daughter.
• 1:22:49
  Speaker 4: So it's a very dramatic role. And the character I play,
• 1:22:53
  Speaker 4: Kaiser Revac, has a big international... and very wealthy and
• 1:23:02
  Speaker 4: uses his money and all of his energy to try
• 1:23:07
  Speaker 4: to destroy the aliens before they take over the world.
• 1:23:12
  Speaker 4: And it's a great part. Anyway, it's being made now
• 1:23:16
  Speaker 4: as a movie movie and I'm really looking forward to it. Yeah,
• 1:23:21
  Speaker 4: Overlord will probably be towards the end of next year,
• 1:23:26
  Speaker 4: the first of the following year. before it hits the screen.
• 1:23:32
  Speaker 4: But who knows? But the director is a terrific director.
• 1:23:37
  Speaker 4: I've worked for some of the best. I've worked for
• 1:23:41
  Speaker 4: Arthur Hiller, who directed Love Story. And I worked with
• 1:23:48
  Speaker 4: a guy that did Golden Pond when he was doing
• 1:23:52
  Speaker 4: The Wild Wild West. I was in that. And this
• 1:23:56
  Speaker 4: director that's directing Overlord is, uh, a really, really, really
• 1:24:01
  Speaker 4: good director. I would put him right up there with, uh,
• 1:24:03
  Speaker 4: the best. Very cool.
• 1:24:05
  Speaker 2: Well, uh, did you want to have people come to
• 1:24:07
  Speaker 2: your website as far as finding you for appearances or
• 1:24:10
  Speaker 2: anything like that?
• 1:24:11
  Speaker 4: Yeah, I do. Uh, and, and, uh, it's, uh, you know, www.richardkeel.com.
• 1:24:20
  Speaker 2: All right.
• 1:24:21
  Speaker 4: Richard Keel is all one word.
• 1:24:23
  Speaker 2: And we have people come out and find you and, uh,
• 1:24:26
  Speaker 2: see you at the conventions.
• 1:24:28
  Speaker 4: And, uh, you know, the, the, uh, the autograph shows
• 1:24:34
  Speaker 4: have been very, very, uh, popular and a lot of
• 1:24:37
  Speaker 4: fun and meet a lot of fans. Yeah, I even
• 1:24:41
  Speaker 4: go to the Star Trek, uh, convention in Vegas every year. Yeah.
• 1:24:44
  Speaker 4: Even though I wasn't in Star Trek, um, because of
• 1:24:48
  Speaker 4: Moonraker and the Twilight Zone, the fans, you know, love
• 1:24:51
  Speaker 4: me there as well.
• 1:24:52
  Speaker 2: Yeah, yeah. There's a big fan base out there for it, so.
• 1:24:55
  Speaker 4: Yeah, well, Yeah, I'm very fortunate. I did a lot
• 1:24:58
  Speaker 4: of different stuff. And so there's some people that want
• 1:25:01
  Speaker 4: a photo signed from the monkeys.
• 1:25:04
  Speaker 2: Yeah.
• 1:25:04
  Speaker 4: You know, somebody else from I Dream of Jeannie or
• 1:25:08
  Speaker 4: Gilligan's Island or the Wild Wild West. You know, so
• 1:25:13
  Speaker 4: there's something for everybody. And, of course, we have several
• 1:25:16
  Speaker 4: photographs from Happy Gilmore and a whole bunch from James Bond,
• 1:25:24
  Speaker 4: some really good ones.
• 1:25:25
  Speaker 8: Yeah.
• 1:25:27
  Speaker 4: You know, Cannonball Run with Jackie Chan. I've got a
• 1:25:31
  Speaker 4: shot with a couple of other icons. Sammy Davis Jr.
• 1:25:36
  Speaker 4: and Dean Martin. Picture with the two of them.
• 1:25:39
  Speaker 5: Nice.
• 1:25:39
  Speaker 4: When I did Cannonball Run. Yeah. Or Cannonball Run 2. Yeah.
• 1:25:45
  Speaker 2: So, yeah, we'll tell people to go check out the
• 1:25:47
  Speaker 2: website and find out where you'll be and go out
• 1:25:49
  Speaker 2: there and see you.
• 1:25:51
  Speaker 6: Yeah.
• 1:25:52
  Speaker 4: Well, we appreciate that. And, yeah, the... I've never seen
• 1:25:56
  Speaker 4: an autographed show that had so many different actors from
• 1:26:01
  Speaker 4: all types of, all kinds of genre as this fanboy exhibition.
• 1:26:08
  Speaker 2: Yeah, yeah.
• 1:26:09
  Speaker 4: And they do have something for everybody there as well.
• 1:26:13
  Speaker 5: Cool.
• 1:26:13
  Speaker 2: We will definitely check it out and, yeah, tell everybody
• 1:26:16
  Speaker 2: to come out and see you.
• 1:26:17
  Speaker 4: Yeah, we'll look forward to it. Stop by and we'll
• 1:26:20
  Speaker 4: fix you up with an autographed photo.
• 1:26:22
  Speaker 2: Sounds good, sounds good.
• 1:26:24
  Speaker 4: Alright.
• 1:26:24
  Speaker 2: Well, thanks for talking to us today.
• 1:26:26
  Speaker 4: Oh, thank you. Thank you.
• 1:26:45
  Speaker 7: Somebody goes, and the next day he says, I'm really sorry,
• 1:26:47
  Speaker 7: I was.
• 1:26:48
  Speaker 4: Rude the other day.
• 1:26:50
  Speaker 7: I'm 23 years old and I'm still embarrassed that people
• 1:26:53
  Speaker 7: see me buying three.
• 1:26:56
  Speaker 9: I had a pretty definite vibe that I was gay.
• 1:26:59
  Speaker 5: And I was like, man, being.
• 1:27:01
  Speaker 9: Born at Wild and Woolly, and I was driving my
• 1:27:03
  Speaker 9: kids home, and I'm like, I'm pretty sure they would.
• 1:27:05
  Speaker 1: I mean, why wouldn't they?
• 1:27:06
  Speaker 9: And they said, you should call them an ass.
• 1:27:09
  Speaker 5: I mean, it would make sense. They have every single
• 1:27:11
  Speaker 5: movie ever made. Wild and Woolly.
• 1:27:14
  Speaker 4: That's true. I get home, and I'm about to call,
• 1:27:17
  Speaker 4: and then.
• 1:27:17
  Speaker 7: My daughter says, you should call and say your wife
• 1:27:20
  Speaker 7: wants to know.
• 1:27:22
  Speaker 2: And she was not. And I'm like, okay, okay.
• 1:27:26
  Speaker 9: Hi, my wife was wondering, do you have gay porn?
• 1:27:29
  Speaker 3: And they go, yes, we do.
• 1:27:31
  Speaker 5: Tell your wife that.
• 1:27:32
  Speaker 7: They sounded pretty, you know.
• 1:27:34
  Speaker 4: She is in for a treat.
• 1:27:35
  Speaker 2: I can't wait until they get here. Why do you
• 1:27:37
  Speaker 2: think it's called the Holy Holy?
• 1:27:39
  Speaker 6: Holy Holy, yes.
• 1:27:43
  Speaker 2: It all makes sense now.
• 1:27:45
  Speaker 7: It's weird that my daughter dared me to do that
• 1:27:48
  Speaker 7: because I was just talking the other day. My wife
• 1:27:51
  Speaker 7: never dares me to do anything. Finally, the first time
• 1:27:55
  Speaker 7: we were out for a walk.
• 1:27:56
  Speaker 9: And at this house, it's like the house number is 908,
• 1:27:59
  Speaker 9: and they have pumpkins with numbers written on them. But
• 1:28:03
  Speaker 9: because they're setting them up the steps, it looks like 809.
• 1:28:09
  Speaker 9: They've got their address backwards.
• 1:28:11
  Speaker 6: Because it's 908.
• 1:28:12
  Speaker 4: Yeah.
• 1:28:13
  Speaker 9: And then they go 809.
• 1:28:15
  Speaker 7: And I said, do you dare me to switch it?
• 1:28:18
  Speaker 2: Make it right?
• 1:28:19
  Speaker 5: Yeah.
• 1:28:20
  Speaker 9: It's like the first time you've ever said yes, I
• 1:28:23
  Speaker 9: dare you.
• 1:28:23
  Speaker 12: Okay. So I switch it.
• 1:28:25
  Speaker 9: The next day we walk by again and they've moved
• 1:28:28
  Speaker 9: it back.
• 1:28:30
  Speaker 2: Because they're stupid.
• 1:28:31
  Speaker 5: They walk by and they're like, wait a minute.
• 1:28:34
  Speaker 9: I think it's because they're terrorists.
• 1:28:36
  Speaker 5: That's the only explanation, clearly.
• 1:28:38
  Speaker 2: All right, so thank you to Richard. We're still loitering
• 1:28:41
  Speaker 2: out in the lobby here, so we're going to wrap
• 1:28:42
  Speaker 2: things up. But thank you to Richard for talking to us.
• 1:28:46
  Speaker 2: We're actually going to go see him, so you should too.
• 1:28:49
  Speaker 2: He's going to be at Fanboy Expo in Knoxville, Tennessee
• 1:28:52
  Speaker 2: from October 26th to the 28th. So head on over
• 1:28:55
  Speaker 2: there and go look for Richard and tell him you
• 1:28:57
  Speaker 2: heard him on Movie Meltdown. Otherwise, that about does it.
• 1:28:59
  Speaker 2: We will return next week. Same geek time, same geek fee.
• 1:29:02
  Speaker 2: Thanks for listening.
• 1:29:04
  Speaker 1: Tracks ahead were long and strained. We were riding on
• 1:29:10
  Speaker 1: the desert wind. We were pulling in the spiritual. distance
• 1:29:35
  Speaker 1: getting closer every minute we saw the lights spiritual shining
• 1:29:38
  Speaker 1: getting closer every minute then.
• 1:29:41
  Speaker 2: We skipped the rails then.
• 1:29:42
  Speaker 1: We started to fail then we folded up Like a
• 1:30:13
  Speaker 1: giant on the land. I want to walk like a
• 1:30:21
  Speaker 1: giant on the land. When I'm looking right in your
• 1:31:37
  Speaker 1: eyes And hearing your happy laugh When I'm seeing your
• 1:31:39
  Speaker 1: blue eyes shine And hear your happy laugh So the
• 1:31:40
  Speaker 1: moment came and the big sky rained down Like a
• 1:32:16
  Speaker 1: giant on the land.
• 1:33:13
  Speaker 7: It's so good to see NC-17 movies.
• 1:33:16
  Speaker 5: That guy right there.
• 1:33:17
  Speaker 7: They're trying to smile, but something is just.
• 1:33:21
  Speaker 5: Yeah, the rabbit.
• 1:33:22
  Speaker 7: They're wearing something unmentionable under their clothing.
• 1:33:26
  Speaker 2: They also have a fistful of butter.
• 1:33:27
  Speaker 5: That's all it is. This episode is a production of
• 1:33:30
  Speaker 5: Movie Meltdown, produced and edited by The Oddity Studios, with
• 1:33:33
  Speaker 5: opening music performed by The Empires. For more on how
• 1:33:36
  Speaker 5: to sponsor or support the show, email producer at moviemeltdown.com.
• 1:33:40
  Speaker 12: Talk hard!