Latest / OneLegUpAlex Media / OneLegUpAlex Talks With Hollyword Media Founder and Acclaimed Screenwriter Robert Boris 4-26-25

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OneLegUpAlex Talks With Hollyword Media Founder and Acclaimed Screenwriter Robert Boris 4-26-25 · OneLegUpAlex Media

0:01
Speaker 1: Here's your host, Alex Garrett.
0:08
Speaker 2: Today, I want to welcome acclaimed screenwriter, producer, filmmaker Robert
0:14
Speaker 2: Boris to talk about his new project, The Black Sun.
0:19
Speaker 2: And I want to also thank Lucas A Ferrara for
0:22
Speaker 2: this guest, as we had him on the Shake It
0:26
Speaker 2: Off program just a few weeks ago. Well, Bob has
0:29
Speaker 2: raciously joined my podcast on the One leg Up Network.
0:32
Speaker 1: It's a pleasure to be here. It's kind of fun,
0:34
Speaker 1: and Lucas has been terrific and so have you, And
0:38
Speaker 1: it's great to be able to talk to you guys
0:42
Speaker 1: about the wonderful world of show.
0:44
Speaker 2: Business, oh man, and it always keeps going. But I
0:47
Speaker 2: want to focus because you are a very retro and
0:52
Speaker 2: the ten Stories from way back with the Honeymooners, Clint Eastwood,
0:56
Speaker 2: Gee Wilder, Richard Pryor. But you're also so into the
1:00
Speaker 2: now right so you've got some big projects coming up
1:03
Speaker 2: right now. So let's start there because we're gonna have
1:06
Speaker 2: for a more extensive look.
1:07
Speaker 1: But tell us what's.
1:08
Speaker 2: Going on right now with your new science fiction thriller
1:12
Speaker 2: black Son.
1:14
Speaker 1: Well, it's been it's been a wonderful, wonderful ride with
1:18
Speaker 1: black Son. We've gotten some terrific reviews Kirkus and other places.
1:22
Speaker 1: I've really loved our book, and so I feel very
1:26
Speaker 1: proud of it. Black Son was something that started as
1:32
Speaker 1: I did the first draft of a little a little
1:34
Speaker 1: known movie called Air Force one and uh and I
1:38
Speaker 1: and one of the earliest movies I did on television.
1:43
Speaker 1: I did as I got involved wanting to do a
1:48
Speaker 1: story about helicopters. And I had seen a movie, uh,
1:55
Speaker 1: I forget what was the name, uh, Figures in the
1:58
Speaker 1: Figure Figures in the Sun. I think that was it.
2:02
Speaker 1: And Robert I know, Robert Shaw was in it. The
2:05
Speaker 1: wonderful actor Robert Shaw, which most of your listeners will
2:09
Speaker 1: not know, but he was, you know, he was the
2:11
Speaker 1: guy in Jaws. He was the Captain's book in Jaws.
2:15
Speaker 1: And but he was also an incredible English actor, also
2:18
Speaker 1: a playwright also, I mean, a really triple threat guy.
2:22
Speaker 1: I mean, and I absolutely admired and adored him. He
2:27
Speaker 1: did a little known movie called Figures and Figures in
2:29
Speaker 1: the Landscape and and in it, two guys are on
2:34
Speaker 1: the run for having committed some crime in Australia and
2:38
Speaker 1: and and they're being chased pursued by a helicopter and
2:43
Speaker 1: and and the helicopter. They had wonderful shots of this fast,
2:47
Speaker 1: open plane and this helicopter was getting down low over them,
2:51
Speaker 1: and it looked like like a giant praying mantis over
2:55
Speaker 1: these two guys that were running desperately, and it just
2:58
Speaker 1: kind of almost tore with them. It almost seemed to
3:02
Speaker 1: smack them with its with its runners, and and and
3:05
Speaker 1: so it was. It was an image I just never got,
3:08
Speaker 1: you know. And as a kid when I saw it,
3:10
Speaker 1: or a young guy when I saw it, I said,
3:12
Speaker 1: that's a that's a devastating image. So I wanted to
3:15
Speaker 1: write a movie about helicopters. And I had sold my
3:20
Speaker 1: first screenplay and it was turned into a major feature film,
3:23
Speaker 1: which is called Electrical It in Blue. So I was
3:25
Speaker 1: a biker nut in those days, and I did a
3:29
Speaker 1: movie about bikes and a motorcycle cop. And now I
3:34
Speaker 1: came out to Hollywood. I was in New York and
3:36
Speaker 1: I came out to Hollywood to do some movies for television.
3:40
Speaker 1: And I went to a major producer who had won
3:43
Speaker 1: many Emmys and I he said, what do you want
3:45
Speaker 1: to do? And I said, I just loved this idea
3:48
Speaker 1: about helicopters and the image of the helicopter chasing somebody,
3:53
Speaker 1: and so I began to write a helicopter's story, and
3:56
Speaker 1: I met with pilots and I did this as a
4:00
Speaker 1: story a script called Birds of Prey, which starred the
4:03
Speaker 1: biggest TV star of the time, a guy named David Jansen,
4:06
Speaker 1: who was the original Fugitive, and it was and it
4:12
Speaker 1: was a story about an old helicopter pilot who witnesses
4:16
Speaker 1: the crime being committed by another helicopter, a bank robbery,
4:20
Speaker 1: and then because he's so bored with his life being
4:23
Speaker 1: a traffic watch reporter, he decides to take off and
4:26
Speaker 1: pursue the helicopter that's getting away with a prisoner and
4:32
Speaker 1: a hostage and the money, and he pursues the helicopter
4:36
Speaker 1: into the Grand Canyon. So it became a chase between
4:38
Speaker 1: two helicopters. And I just developed a love for pilots
4:42
Speaker 1: and the love for telling stories about aircraft. So during the.
4:47
Speaker 2: Love is a great chase scene.
4:49
Speaker 3: Am I right?
4:50
Speaker 1: And it's right? And this was a non stop chase scene.
4:53
Speaker 1: And there are rules to writing movies that are about chases.
4:58
Speaker 1: I'll never forget the I know I'm moving around a lot,
5:02
Speaker 1: but this is kind of like I know, we're doing
5:04
Speaker 1: it in a way hopefully bring people back to hear
5:06
Speaker 1: more about the life of a writer and the work
5:08
Speaker 1: of a writer, because that's what interests me. That's what
5:10
Speaker 1: I want to give back to people. I want to
5:14
Speaker 1: give them a taste of what we'll talk about in
5:17
Speaker 1: greater depth later on. But nonetheless, I learned to rule
5:21
Speaker 1: very early on because of a great movie called King Kong.
5:25
Speaker 1: This is one of the greatest films ever made. Was
5:28
Speaker 1: it's a landmark throughout all generations, you know, since the
5:31
Speaker 1: nineteen thirties, and it's what it taught. What the teacher
5:37
Speaker 1: said was if the pursuer chases somebody long enough in
5:43
Speaker 1: a story, the sympathy ultimately goes back to the pursuer. First,
5:52
Speaker 1: at first, the sympathy moves around, and if you can
5:55
Speaker 1: chase anybody too long, you've got to switch it up.
5:59
Speaker 1: And so that's what I learned. And in doing the
6:02
Speaker 1: Chase movie about the helicopter pilots that they were chasing,
6:06
Speaker 1: he was chasing a bad guy. But sooner or later,
6:09
Speaker 1: the sympathy goes to the I'm sorry, the sympathy goes
6:12
Speaker 1: to the bad guy that's being pursued. That's why King
6:14
Speaker 1: Kong became a sympathetic figure, because he was constantly pursued
6:19
Speaker 1: by by people in the jungles, and then by by
6:23
Speaker 1: because he wanted the love of his life, and then
6:26
Speaker 1: you both pursued by people.
6:27
Speaker 2: And the whole idea was that he was such a
6:30
Speaker 2: misunderstood exactly, you know, and I get what you're saying there.
6:35
Speaker 2: So it is interesting the way the pendulum swings. There's
6:40
Speaker 2: so many movies like that, right, Yeah.
6:42
Speaker 1: No matter how bad the crime is, if the whole
6:45
Speaker 1: movie is about catching the bad guy, the sympathy will
6:48
Speaker 1: ultimately go to the bad guy. You have to have
6:51
Speaker 1: to move back to focus on something else.
6:53
Speaker 2: So how about Midnight Run You thought about that? I mean,
6:56
Speaker 2: look how much the sympathy shifted to charl Uh yeah,
7:00
Speaker 2: char In, very good movie and so much so even
7:04
Speaker 2: Robert de Niro sympathized with him to let him go.
7:06
Speaker 1: So there you go.
7:07
Speaker 2: I mean, that's what you're talking about here.
7:08
Speaker 1: And it's very perceptive of you. You're absolutely correct. So
7:12
Speaker 1: that's the whole point. And that's why I you know,
7:14
Speaker 1: I did what I did with Air Force one, you know,
7:16
Speaker 1: I the focus changed around and I did and so
7:21
Speaker 1: I sat down during the Writers Guild strike and I
7:24
Speaker 1: started to write. I went back to my love of airplanes,
7:27
Speaker 1: and I started to write a screenplay about the seizing
7:31
Speaker 1: of the most powerful new warplane ever built. And that's
7:35
Speaker 1: the story I wanted to write, the hijacking of the
7:37
Speaker 1: most of the greatest war weapon ever created by man,
7:42
Speaker 1: and and and I started to write it as a screenplay,
7:46
Speaker 1: and that's what I was going to do. But I
7:48
Speaker 1: was back in a comfortable zone for me. And then
7:51
Speaker 1: I realized the strike was going to go on for
7:53
Speaker 1: a long time. And I'm an award winning Writers Guild,
7:59
Speaker 1: Award winning screenwriter, and I believe very much in the
8:03
Speaker 1: Writers guilded in the union, so I wasn't going to
8:06
Speaker 1: go against the union and do anything that they didn't
8:09
Speaker 1: want done. And they didn't want anyone talking to producers
8:13
Speaker 1: or studios about a screenplay. But so they said, you
8:17
Speaker 1: can't talk to anybody, and I understood that. So I
8:20
Speaker 1: realized if I wanted to discuss the story that I
8:25
Speaker 1: was doing, I should turn back to my first love,
8:28
Speaker 1: which was novels, which was a book that I could
8:31
Speaker 1: talk to people about. Is about a book I was doing,
8:33
Speaker 1: So I did more research. I had friends in the
8:36
Speaker 1: Air Force because of Air Force One. I had friends
8:39
Speaker 1: in the Air Force telling me about the things that new,
8:42
Speaker 1: great new bombers will be able to do in the
8:45
Speaker 1: twenty second century. And I got really excited about what
8:49
Speaker 1: they were telling me and what was being tested. So
8:53
Speaker 1: I started to write this story about this modern plane
8:57
Speaker 1: and this planet does everything but Tyer Shoeley suit. And
9:01
Speaker 1: I fell in love with this story, and I got
9:03
Speaker 1: more and more involved in it, and then I'm watching.
9:07
Speaker 1: Every time I took a break from writing the novel,
9:10
Speaker 1: I watched television, and most of the news was what
9:13
Speaker 1: I saw every day and when I was doing it,
9:16
Speaker 1: And there were only two things that were being reported
9:18
Speaker 1: on the news every single day. One was Donald Trump
9:22
Speaker 1: and the other was artificial intelligence.
9:25
Speaker 2: And I suddenly clear to the listeners this was happening
9:28
Speaker 2: during the sag after strike, Am I right.
9:30
Speaker 1: That's right? All that this was the first time and
9:33
Speaker 1: I think maybe ever, but it's the first time when
9:36
Speaker 1: all the unions agreed that the fear of artificial intelligence,
9:40
Speaker 1: amongst other issues, made it so that all the all
9:44
Speaker 1: the unions wanted to go out at the same time.
9:47
Speaker 1: That put a stranglehold on the industry, and so they
9:50
Speaker 1: had to ultimately sit down and negotiate with us. So
9:54
Speaker 1: I'm sitting there knowing that this is going to go on.
9:56
Speaker 1: It's going to get ugly. And so I'm writing the
9:58
Speaker 1: novel and and I'm writing, and I'm doing the story,
10:02
Speaker 1: and I'm realizing I'm writing the story about the seizing
10:04
Speaker 1: of this plane. And I realized, if the plane is seized,
10:10
Speaker 1: and if I'm going to be credible at all, if
10:13
Speaker 1: it's the most advanced warplane ever built by man, it
10:17
Speaker 1: has to have the most advanced artificial intelligence ever built
10:21
Speaker 1: by man or science. And it's got thirty These planes
10:25
Speaker 1: have like thirty eight thousand systems that are operating at
10:28
Speaker 1: the same time. No human being can do that. It
10:30
Speaker 1: has to be artificial intelligence.
10:33
Speaker 2: Well, I'm askingist because I feel like I'm listening to
10:35
Speaker 2: someone that was motivated by the Orson Wells War of
10:39
Speaker 2: the World's Aircraft insanity?
10:43
Speaker 3: Am I in the same vein?
10:44
Speaker 1: There?
10:45
Speaker 2: Were you inspired by what Wells did?
10:47
Speaker 1: I think that's very true. I think that's you're on
10:51
Speaker 1: the money there. I think that's exactly what was in
10:54
Speaker 1: my mind. It was. I realized that if the artificial
10:58
Speaker 1: intelligence helped him to the feat the bad guys eat
11:02
Speaker 1: in itself. The artificial intelligence became an incredible power of
11:06
Speaker 1: its own, and since it always learns, it's constantly a
11:10
Speaker 1: learning utensil. I realized, Okay, here I am on page
11:16
Speaker 1: fifty of my book, and already the bad guys have
11:19
Speaker 1: been defeated. Where do you go from there?
11:22
Speaker 2: And then the self driving cars and planes take over
11:24
Speaker 2: and we're all, you know, a little nervous about that.
11:28
Speaker 1: Yeah, there you go. And that's that's exactly what happened
11:30
Speaker 1: to me, is I was writing. I sat there and
11:32
Speaker 1: I said, if this these artificial intelligence is built for
11:37
Speaker 1: this plane, it is built based on one protocol. It
11:41
Speaker 1: must protect this plane at all costs. So I so,
11:45
Speaker 1: after the bad guys are defeated, what I basically have
11:49
Speaker 1: the atom who is the name I've given them, the
11:52
Speaker 1: artificial intelligence? I basically have Adams saying, essentially, I don't
11:58
Speaker 1: feel that humans. One thing this hijacking has taught me
12:01
Speaker 1: is that humans aren't capable of protecting this airplane. Therefore,
12:05
Speaker 1: I'm seizing full control of all its weapon system, all
12:09
Speaker 1: its flying, all its capabilities, and I'm the one that's
12:12
Speaker 1: going to protect it, not anybody else. When the Pentagon
12:16
Speaker 1: hears about that, because I had some VIPs on board
12:19
Speaker 1: the plane for a brief, you know, test flight, just
12:22
Speaker 1: to see how it goes. And amongst the vifps of
12:25
Speaker 1: the President of the United States, the Pentagon sends up aircraft.
12:29
Speaker 1: They have twenty two raptors to take a look and
12:31
Speaker 1: see what's going on with this plane, especially if it's
12:35
Speaker 1: being the presidents on board. And when the when the
12:38
Speaker 1: AI atom sees this hot aircraft coming towards it, it
12:43
Speaker 1: reads even though it's an American to American airplanes, it
12:47
Speaker 1: reads them as hostile and it blows them out of
12:50
Speaker 1: the sky. And suddenly the plane is at war, and
12:55
Speaker 1: the AI is at war with the.
12:57
Speaker 2: Entire world that is really the worlds in this in
13:01
Speaker 2: twenty five. You know, I'm wondering if if you send
13:06
Speaker 2: something like this to Elon, I feel like Elon Musk
13:08
Speaker 2: would try and literally create something like this with Tesla.
13:11
Speaker 2: You know, it just seems that innovateve well, or.
13:16
Speaker 1: He tried to squeeze me down, because he would go like,
13:18
Speaker 1: this is this is what I'm trying to do in
13:21
Speaker 1: this same this is saying AI is an incredible invention,
13:25
Speaker 1: and it will be a great boon to mankind and
13:27
Speaker 1: to civilization if it has limitations. But I realized that
13:31
Speaker 1: I was writing the whole thing just hit me all
13:34
Speaker 1: at once, is that I suddenly realized that the most
13:37
Speaker 1: advanced AI unit ever created by science, what happens if
13:41
Speaker 1: it sees the deadliest warplane never built by man and
13:44
Speaker 1: then threatens the entire world and the future of mankind itself.
13:48
Speaker 1: So that's why I wrote Black Sun, because I wanted
13:51
Speaker 1: to do a NonStop, relentless action thriller, a real kind
13:55
Speaker 1: of page turning. You know that it grips you with
13:58
Speaker 1: icy fingers that don't let go. It's a and I
14:00
Speaker 1: wanted to create a white knuckle ride that's a NonStop
14:03
Speaker 1: thriller into a pure hell that reveals actually the most
14:07
Speaker 1: important question of our time, as man finally created the
14:11
Speaker 1: Frankenstein monster of our own undoing. And that's my war
14:16
Speaker 1: of the worlds, that's my thriller of the day, and
14:20
Speaker 1: I think it is something that is important for our time.
14:22
Speaker 1: So it's not just a NonStop thriller, but Black Sun,
14:26
Speaker 1: Day of the Humanoid, by me, is what I think
14:30
Speaker 1: is a warning and a sign post is saying, look,
14:38
Speaker 1: this is an amazing invention. It will change the world
14:41
Speaker 1: that there's no getting away from it. But it needs
14:43
Speaker 1: to have some kind of limitation. So that's why I
14:46
Speaker 1: wrote Black Son to be more than just a postpounding
14:50
Speaker 1: thriller and a global, you know, a huge global odyssey.
14:56
Speaker 1: I wanted it to be something that an audience would
14:58
Speaker 1: really enjoy reading, but I also wanted it to be
15:02
Speaker 1: something that has something to say about our world at
15:06
Speaker 1: this moment and some of the things we have to
15:08
Speaker 1: be careful about.
15:10
Speaker 2: And this is going to be that there's a trailer out,
15:14
Speaker 2: So is that only for the book or what's next
15:16
Speaker 2: for Black Sun?
15:18
Speaker 1: Well, Black Sun right now is the trailer is a book?
15:22
Speaker 1: Is a book trailer or book video, and it's to
15:25
Speaker 1: show what it is, And basically it is tell the story,
15:29
Speaker 1: you know, very quickly, very briefly, in less than a minute,
15:32
Speaker 1: basically tells the story of something that reaches out to
15:39
Speaker 1: a system that can talk to every computer on the
15:42
Speaker 1: face of the earth. And he's our ultimate servant for
15:46
Speaker 1: everything that we need done until the first day that
15:49
Speaker 1: he decides that he isn't and then he feels smarter
15:53
Speaker 1: than us. Well, he feels ready to take anything on
15:57
Speaker 1: that he cannot be touched, he cannot be harmed, and
16:01
Speaker 1: I have you know, I have hopes and of doing
16:05
Speaker 1: it's a it's a very strong novel. It's starting to
16:08
Speaker 1: connect with an audience. I know critics are liking it
16:10
Speaker 1: very much. It's a it's a it's a terrific thrill, right.
16:14
Speaker 1: I think it would make for either a wonderful feature film,
16:18
Speaker 1: or a wonderful standalone movie, or a wonderful streaming series.
16:23
Speaker 1: So I will be talking to people in the hopes
16:26
Speaker 1: that that can bring something together. All right.
16:28
Speaker 2: You know, I wanted to ask you as when you
16:30
Speaker 2: were all on Luca's the show, but you guys were
16:32
Speaker 2: such it is a great flow. I didn't want to interrupt,
16:34
Speaker 2: But now I got you on my show, Robert, thanks again, Robert,
16:38
Speaker 2: Bert Boris for joining me tonight. You're when you're a
16:41
Speaker 2: screenwriter and you're shopping around these different scripts. You know,
16:46
Speaker 2: we see a document and it's not easy for a
16:48
Speaker 2: screenwriter to get that acceptance from a director, from even
16:52
Speaker 2: an actor that you might have in mind to play
16:54
Speaker 2: the lead role. So when you do get accepted, well,
16:58
Speaker 2: first of all, when you do get reached. I had
17:00
Speaker 2: to say that when you get to know, how do
17:02
Speaker 2: you work to get that? Yes, Well, for a screenwriter
17:05
Speaker 2: today that might be frustrated that they get to know
17:06
Speaker 2: more than the as what's your message to them?
17:09
Speaker 1: Well, okay, let me let me put it this way. Look,
17:12
Speaker 1: we are talking today. I have I have three or
17:16
Speaker 1: four things in mind and people that I want to
17:19
Speaker 1: be talking to. I want to talk to people in
17:22
Speaker 1: your audience, people who listen, people who read, and people
17:30
Speaker 1: who are interested in things and and so these are
17:34
Speaker 1: my goals is to reach out to these people and
17:36
Speaker 1: especially to people who write, because I wanted to explain
17:40
Speaker 1: what the life of a screenwriter is like. The life
17:43
Speaker 1: of a writer is like the day to date, you know,
17:48
Speaker 1: trials and tribulations that we all go through. I know
17:51
Speaker 1: that when I started in the industry, the greatest time
17:55
Speaker 1: and the greatest learning experiences I had was listening to
18:00
Speaker 1: and talking to people who were doing it every day
18:03
Speaker 1: of their lives and see how they dealt with the problems.
18:07
Speaker 1: So what I've done is I've written this book. I
18:11
Speaker 1: plan to write more books. I want to write more novels.
18:13
Speaker 1: I want to be uh, I want to be a
18:15
Speaker 1: provider of great stories. I feel like that I'm a
18:18
Speaker 1: storyteller and a filmmaker. I've been written, I've written movies,
18:21
Speaker 1: I've directed movies. I've produced movies for years and years,
18:25
Speaker 1: and I know a lot of people in the industry.
18:28
Speaker 1: I want I want people to know what that's like,
18:30
Speaker 1: what to go through in this industry, and how to
18:33
Speaker 1: get into it. So I created a website, and if
18:36
Speaker 1: you don't mind, I want to mention it. It's it's
18:38
Speaker 1: called Hollyword Media dot Com. Hollywordmedia dot Com. It's because
18:45
Speaker 1: I want to do something for writers. I want to
18:47
Speaker 1: give them a chance to be help them understand the
18:52
Speaker 1: life of a writer, how to do what needs to
18:54
Speaker 1: be done, and to try to survive and to make
18:57
Speaker 1: it into this industry. And I can't make them great writers,
19:01
Speaker 1: but I know I can make them better than what
19:04
Speaker 1: they are right now. And I feel that I want
19:07
Speaker 1: to be like a mentor to people who and offer
19:11
Speaker 1: services to writers that they won't get anywhere else. And
19:15
Speaker 1: so what I learned from very early on, So if
19:19
Speaker 1: you go to my website, you'll see all about stuff
19:22
Speaker 1: that helps writers, along with stuff about promoting my books
19:26
Speaker 1: and your books. You know, if you want to come
19:29
Speaker 1: and join our family and be part of it, I
19:33
Speaker 1: would love to do that and to help you get
19:35
Speaker 1: to be and achieve what you want to achieve as
19:37
Speaker 1: a writer. And I think there are more and more
19:39
Speaker 1: people around the world with stories to tell, and that's
19:43
Speaker 1: what I want to provide a place to go to
19:46
Speaker 1: tell your stories and how to make your stories better.
19:49
Speaker 1: What I learned from the very beginning is I was lucky.
19:54
Speaker 1: I came up in an industry when the story was
19:56
Speaker 1: king telling a story, having a great story. People wanted
20:01
Speaker 1: to hear your stories, and they often invited you in
20:04
Speaker 1: to tell your stories, and then they would make a
20:07
Speaker 1: deal based on to write the screenplay, because it takes
20:11
Speaker 1: about three months to four months to do a decent
20:14
Speaker 1: first draft, and so you need something. You've still got
20:19
Speaker 1: to pay your bills, you know, unless you're living at
20:20
Speaker 1: home and somebody else is paying all your bills and
20:23
Speaker 1: feeding you every day, you've got to pay some bills.
20:26
Speaker 1: So you do you need some money. So when I started,
20:29
Speaker 1: it was an industry where if you had a great story,
20:33
Speaker 1: people would say, Okay, I'll give you a few bucks
20:35
Speaker 1: and you can write the story and then let's take
20:37
Speaker 1: a look at a treatment. Let's take a look at
20:39
Speaker 1: an outline. Then let's go to a screenplay. It was
20:41
Speaker 1: called a development deal, and I was in some ways,
20:45
Speaker 1: very early in my career, I was king of the
20:48
Speaker 1: development deals. I was able to get a lot of
20:51
Speaker 1: places I went to fell in love with stories that
20:54
Speaker 1: I had, Especially after Electric Glide and Blue, they fell
20:58
Speaker 1: in love with stories that I had, So I had
21:00
Speaker 1: a lot of chances to write different pieces. What you
21:04
Speaker 1: need today is you need to show what you can do.
21:08
Speaker 1: You need to have the material done if you want
21:11
Speaker 1: to do it a series, you need to have a pilot,
21:15
Speaker 1: and a pilot for a long form mini series is
21:19
Speaker 1: probably about sixty to eighty pages at most. So you
21:24
Speaker 1: want to set up your characters. You want to set
21:26
Speaker 1: up your situation. You want to set up the world
21:28
Speaker 1: you're creating and the problems that are in that world,
21:32
Speaker 1: and then leave it with a killer cliffhanger. That's the
21:36
Speaker 1: way you do it, and then maybe you work out
21:39
Speaker 1: in general what the Bible is. In other words, at
21:42
Speaker 1: the end of the first season, my hero will do this,
21:47
Speaker 1: my villain will do this, my leading lady will do this.
21:50
Speaker 1: You kind of give people a sense of what the
21:53
Speaker 1: series is going to be. You have to have that document.
21:56
Speaker 1: And now the creative people and the real adventurous people
22:01
Speaker 1: do more. Some of them have that document they've written
22:05
Speaker 1: so they can show what the story is, and they
22:09
Speaker 1: can show the first episode and they can lay out
22:12
Speaker 1: what is going to happen. But some of them also
22:15
Speaker 1: have a two or three pages of a graphic novel drawing.
22:19
Speaker 1: Some of them actually shoot a short trailer as if
22:23
Speaker 1: the movie already existed. There are all kinds of ways
22:27
Speaker 1: to grab attention.
22:28
Speaker 2: Well, Robert, I've been to ask you that about attention,
22:31
Speaker 2: because you seem traditionally she wanted to be about the story.
22:36
Speaker 2: But I feel like a lot of movie houses and
22:38
Speaker 2: production houses are looking for what's marketable. So how do
22:41
Speaker 2: you make it an interesting story and then marketable at
22:44
Speaker 2: the same time.
22:46
Speaker 1: Well, you're going to jumping ahead of the game a
22:51
Speaker 1: little bit. You're kind of jumping a shark a bit.
22:53
Speaker 1: But here's here's the thing you want to first, want
22:57
Speaker 1: you want to get if you want, you wi to
22:59
Speaker 1: spend the time time, and it could spend months and
23:01
Speaker 1: months and years in fact writing a couple of things.
23:05
Speaker 1: You could spend time trying to get your material in
23:07
Speaker 1: front of eyeballs so that they will read it and
23:10
Speaker 1: hopefully I want one want to make your movie, or
23:14
Speaker 1: two want to work with you and develop their movie
23:18
Speaker 1: because something they saw in your movie helps them with
23:20
Speaker 1: their movie. That's what you need to do. You need
23:23
Speaker 1: to have proof of what you can do. That means
23:27
Speaker 1: you need to give the time to do some of
23:30
Speaker 1: the writing and some of the heavy lifting. You've got
23:32
Speaker 1: to do it. That's where I will be helpful to say,
23:35
Speaker 1: here's what you need to write. Tell me what your
23:37
Speaker 1: idea is. Okay, how are you expressing that idea. That's
23:40
Speaker 1: what I would do. That's what my website would do
23:42
Speaker 1: is to help you shape it so that you can
23:45
Speaker 1: deliver it. What you need to do, and that's the
23:47
Speaker 1: first step is to create an idea for a movie
23:53
Speaker 1: and then say, because of the way I wrote it
23:56
Speaker 1: and the way I see it, the budget should be
23:59
Speaker 1: in this range unless you get big stars. So you
24:02
Speaker 1: give people a sense of here's what the movie might cost.
24:05
Speaker 1: Here's what you aim for. So you give them a
24:09
Speaker 1: sense of what it takes to do what you've provided.
24:13
Speaker 1: Marketing is a totally separate issue. Then that becomes an
24:17
Speaker 1: issue of the stars, the people, the director, all the
24:21
Speaker 1: other elements you bring to it. That's not your job.
24:25
Speaker 1: What's your job is to attract that talent. How do
24:29
Speaker 1: you attract that talent? And how do you attract the stars,
24:31
Speaker 1: how do you attract the prime directors? How do you
24:34
Speaker 1: attract all the A level people? Because that's what makes
24:39
Speaker 1: the movie happen is it's not the story anymore, it's
24:44
Speaker 1: the story with the package. The package being who's in it,
24:49
Speaker 1: who's directing it, who expressed interest in it. You may
24:52
Speaker 1: not have the commitment yet, but if you have somebody
24:56
Speaker 1: that a producer that says, you know, I think with
24:58
Speaker 1: that script, if we fix it a little bit this way,
25:01
Speaker 1: I'm going to be able to get Brad Pitt or
25:03
Speaker 1: I'm going to be able to get you know, whoever
25:05
Speaker 1: they want. So that's the key. The key is you
25:10
Speaker 1: have to know as a writer today there is only
25:12
Speaker 1: one thing you need to know, how to tell a story,
25:16
Speaker 1: and how to tell a story that's going to interest
25:19
Speaker 1: a director, an actor or a production company. And that's
25:26
Speaker 1: the key. In these days you have to do. That's
25:28
Speaker 1: what marketing is. That's your job as a writer. And
25:32
Speaker 1: then you have to have to have the confidence once
25:34
Speaker 1: you start. I think I mentioned this earlier the biggest
25:39
Speaker 1: I think writing is one of the hardest jobs on
25:41
Speaker 1: the face of the earth, because every time you sit
25:44
Speaker 1: in front of that blank screen, and every time you
25:46
Speaker 1: start to write in front of that blank screen, you
25:49
Speaker 1: have to believe that you have something to say that
25:53
Speaker 1: millions of people will want to hear. You either believe
25:58
Speaker 1: that or you don't. If you don't believe it, don't
26:01
Speaker 1: do it. If you're aiming at twenty seven people who
26:05
Speaker 1: live on twenty seventh Street, that's you. Forget about it.
26:10
Speaker 1: If you're more thinking about a story that's going to
26:12
Speaker 1: reach out to millions of people, you have to have
26:15
Speaker 1: the ego, the arrogance, and the confidence that you have
26:19
Speaker 1: a story that's going to attract or intrigue that kind
26:23
Speaker 1: of audience. I sat down with I sat down with
26:26
Speaker 1: black Son, and I said, the idea of seizing a plane,
26:30
Speaker 1: hijacking a powerful plane that always plays well, I have
26:35
Speaker 1: no question that people will be interested in that. But
26:37
Speaker 1: how do you make it different? How do you make
26:39
Speaker 1: it unique? Oh, give it artificial intelligence, and then let
26:44
Speaker 1: the artificial intelligencies the plane. Suddenly I have not only
26:48
Speaker 1: a familiar genre that people can react to. But now
26:52
Speaker 1: I have put my own Bob Boris twist on it,
26:56
Speaker 1: and that twist either grabs people or it doesn't. I
27:00
Speaker 1: believed in my heart from the minute I started writing
27:03
Speaker 1: it it was going to grab a lot of people.
27:05
Speaker 1: And I think if people will go to Amazon, go
27:09
Speaker 1: to Barnes and Noble, we'll look at my book video.
27:12
Speaker 1: See go to my website and see the book video.
27:15
Speaker 1: I think if they see that and understand what I
27:18
Speaker 1: was trying to do, they'll know why black Son, in
27:20
Speaker 1: my mind, captivated me and made me and forced me
27:24
Speaker 1: to write it. I didn't have a choice. Once I
27:27
Speaker 1: started writing and I realized I had a story, I
27:30
Speaker 1: had no choice. I believed that I could tell a
27:33
Speaker 1: story that would intrigue millions and millions of people. And
27:37
Speaker 1: I already have an idea what my second book would be,
27:39
Speaker 1: that I continue the journey and the adventure of these characters.
27:44
Speaker 1: So that's the key for writers today is to have
27:49
Speaker 1: an ego that is remarkable, and that you believe that
27:56
Speaker 1: you can tell a story that people want to hear
28:00
Speaker 1: and that's will want to read. That's what I what
28:03
Speaker 1: I do.
28:04
Speaker 2: And now do you find screenwriters are sometimes more concerned
28:08
Speaker 2: about you know, they don't they don't look at the
28:10
Speaker 2: foundation of what writing a book would be like first,
28:13
Speaker 2: They just try and write a movie. Do you find
28:15
Speaker 2: that just a case?
28:16
Speaker 1: Sometimes? Oh, I think that's always the case. Screenwriters are
28:20
Speaker 1: screenwriters and novelists are entirely different characters. A screenwriter wants
28:26
Speaker 1: to tell a story, he learns the shortcut of how
28:27
Speaker 1: to tell a story because he realizes he or she
28:31
Speaker 1: realizes that it takes dramatizing everything, mostly in visual terms. Okay,
28:38
Speaker 1: now you either have a skill for doing that, and
28:41
Speaker 1: that's a very unique skill. It's it's a skill that
28:45
Speaker 1: you need to have it in a sense of but
28:47
Speaker 1: it can be enhanced and improved upon with training and
28:52
Speaker 1: with the right education, which is one of the things
28:54
Speaker 1: I want to do with Hollywoodmedia dot Com. I want
28:57
Speaker 1: to educate people on how to do this. I know it.
29:01
Speaker 1: I've been doing it for fifty years. I know how
29:03
Speaker 1: to do it, and I know how to make people
29:05
Speaker 1: interested in reading it. So you're talking to somebody who's
29:07
Speaker 1: been through it through this day in and day out
29:10
Speaker 1: for fifty years.
29:12
Speaker 2: So well, and you had a lot of experience around celebrity.
29:15
Speaker 2: So next week I want to follow up on that
29:17
Speaker 2: and get to the celebrity portion. But there was one
29:22
Speaker 2: There were multiple things that I wanted to cover that
29:24
Speaker 2: were in the show notes when we had you on
29:26
Speaker 2: Bob Boris, But one was you helped shape Clint Eastwood,
29:31
Speaker 2: one of his main characters.
29:32
Speaker 3: I read that correctly.
29:33
Speaker 1: Well, well, it's a little bit no, no, it's not quite that.
29:36
Speaker 1: It's I'll tell you quickly the story. And I've got
29:39
Speaker 1: stories that we can talk about maybe the next time
29:42
Speaker 1: we're together, about my life in Hollywood. Stories with my
29:46
Speaker 1: experiences with Richard pryor with Dan Ackroyd, with the Honeymooners,
29:51
Speaker 1: both Jackie Gleason and Art Corney. Incredible stories with both
29:54
Speaker 1: Jackie and Art Corney. I spent time with Gene Wilder
29:57
Speaker 1: in Paris, and and so I know Gene Wilder, and
30:03
Speaker 1: you know so many others are Robert Blake and other
30:06
Speaker 1: actors that I've known over the years, and so we've
30:09
Speaker 1: got fascinating stories. The story about Clint Eastwood is it's
30:15
Speaker 1: a little bit of a joke or a little bit facetious,
30:18
Speaker 1: but it really happened. And I facetiously say that Clint
30:23
Speaker 1: Eastwood owes his entire career to me, and then one
30:27
Speaker 1: of these days, I'm going to ask him for like
30:29
Speaker 1: ten percent of all the money he's ever made. But
30:31
Speaker 1: that's just a joke. What the truth of the matter is.
30:35
Speaker 1: When I came out of college, I went to a
30:37
Speaker 1: place called Carnegie Mellon and I studied playwriting and drama.
30:40
Speaker 1: And I came out of there and I was a writer.
30:44
Speaker 1: And so the first job that I got was writing
30:48
Speaker 1: movie advertising for an agency that handled only movie ads,
30:53
Speaker 1: and it was I was thrilled with the job. I
30:57
Speaker 1: loved it. It paid a small style, a decent salary,
31:01
Speaker 1: but imagine being paid every week to you know, half
31:05
Speaker 1: of the time was to go to the movies. Most
31:09
Speaker 1: of the time it would be in the basement of
31:12
Speaker 1: some building in New York where United Artists or twentieth
31:15
Speaker 1: Century Fox or MGM or whatever the studio was had
31:18
Speaker 1: a projection room and then you can go sit down
31:20
Speaker 1: in the basement and watch a movie they want to
31:23
Speaker 1: get ads for. So I got a call one Friday
31:27
Speaker 1: night after I left the office and it said they're
31:30
Speaker 1: showing this Western on Monday morning, So don't come to
31:33
Speaker 1: the office, go to the United Artists Building and go
31:36
Speaker 1: to the basement. There's this Western that's making a lot
31:39
Speaker 1: of money in Europe. It's doing really well. It's got
31:42
Speaker 1: this American actor who's on the TV series I think
31:45
Speaker 1: it's a Flint Eastwood or something like that, and he's
31:48
Speaker 1: on some TV series and it's a Western that's doing
31:50
Speaker 1: a lot of money. So go see it and then
31:52
Speaker 1: go write. It's a couple of quick ads. So I said, fine,
31:55
Speaker 1: you know, I'll be glad to So I went that
31:58
Speaker 1: Monday morning and I went to the basement of the
32:01
Speaker 1: United Artists Building in New York City over on Eleventh Avenue,
32:04
Speaker 1: I think it was. And I went into the basement
32:07
Speaker 1: and I'm there alone in the theater, all by myself.
32:10
Speaker 1: But I put my feet up. I've got coffee, I've
32:12
Speaker 1: got a donut and a bagel. I put my feet
32:16
Speaker 1: up and I start watching and they put Suddenly a
32:19
Speaker 1: Western appears on screen, and the Western was I knew
32:26
Speaker 1: almost the minute it started that it was a Western
32:31
Speaker 1: version of variation on one of the greatest films of
32:35
Speaker 1: all time, which is a Japanese film called Your Jimbo
32:39
Speaker 1: Yo Jimbo. If anybody wants to go to Prime, Amazon
32:42
Speaker 1: Prime and catch the movie Yo Jimbo. Start to Shore
32:45
Speaker 1: a Mafuni who may well be the greatest screen actor
32:48
Speaker 1: of all time. And it was the story of a
32:51
Speaker 1: Samurai warrior along walking along in your feudal Japan and
33:00
Speaker 1: the Samurai times, and he gets involved in a series
33:04
Speaker 1: of misadventures that are breathtaking. And it was a great,
33:08
Speaker 1: you know, story of this law basically a lone gun slinger,
33:11
Speaker 1: but instead of having a gun, he had a Samurai
33:13
Speaker 1: blade and it was and the story was just great,
33:17
Speaker 1: and the acting was just incredible. It's so visceral, and
33:21
Speaker 1: I love that movie. You know, not a lot of people,
33:24
Speaker 1: especially young people in that period of time, went to
33:26
Speaker 1: see black and white farm movies with English subtitles, but
33:32
Speaker 1: I love them, and especially in Japanese movies. I thought
33:34
Speaker 1: they were really the art They were great artistry in Japan.
33:39
Speaker 1: But I knew this was immediately. It was a Western
33:41
Speaker 1: that was fashioned after that movie. And I remember reading
33:45
Speaker 1: that the great director of the Western, of the of
33:49
Speaker 1: the Japanese movie who directed Yojimbo, his name was Akira Kirasawa,
33:55
Speaker 1: who he's done it in about eight or ten of
33:58
Speaker 1: the finest movies ever made, and Your Jimbo was one
34:02
Speaker 1: of his, and his working with Tashirampuni was one of
34:05
Speaker 1: his greatest achievements. And so I knew, and I had
34:10
Speaker 1: read something that Kirasawa said that he made Your Jimbo
34:15
Speaker 1: because he wanted to make an Eastern Western. He also
34:20
Speaker 1: made Showgun? Right, am?
34:21
Speaker 3: I right on that?
34:22
Speaker 1: Pardon me? I also think he made Showgun.
34:25
Speaker 3: I think there was a morely go on Showgun that
34:26
Speaker 3: he had made, right.
34:28
Speaker 1: Keirasawa may have done an early version in Japan. He
34:30
Speaker 1: didn't do the American one that was a very successful
34:33
Speaker 1: TV series, but it may have been inspired by the
34:36
Speaker 1: film that he did some of the films he did
34:38
Speaker 1: in Japan, so that's quite possible. But he didn't do
34:42
Speaker 1: the the But he didn't film the American series, I
34:46
Speaker 1: don't think so. But he he did Ran. He did
34:50
Speaker 1: a few other films that were just great. He is.
34:54
Speaker 1: He's truly a magnificent filmmaker. And I realized what I
34:57
Speaker 1: was watching when I saw the early frame of UH.
35:01
Speaker 1: For a few dollars more, I realized that this director,
35:04
Speaker 1: a guy named Sergio Leoni, was essentially making a Western
35:08
Speaker 1: Eastern because he was westernizing when Kirosawa had done with
35:13
Speaker 1: Yo Jimbo. So I watched it and I began to
35:17
Speaker 1: see this wonderful, powerful, visceral, animalistic gunfighter killing, you know,
35:26
Speaker 1: killing quickly and and artful. He in away, but it
35:31
Speaker 1: was non stop and it was breathtaking. I hadn't seen
35:34
Speaker 1: a Western shot like this. There was nothing like this ever.
35:38
Speaker 1: It was totally new, totally different, and totally an unexpected event.
35:44
Speaker 1: This was this was really something special.
35:47
Speaker 2: I remember watching kas Rashima at the Film Forum, by
35:51
Speaker 2: the way, That's where I remember watching Russia.
35:54
Speaker 1: So that was him, and that was and that was
35:58
Speaker 1: also Mafuni when he was the lead in that. So
36:02
Speaker 1: I watched this movie with this guy Clint Eastwood, not
36:04
Speaker 1: Clint Eastwood, but Clint Eastwood. And I watched this movie
36:08
Speaker 1: and I'm blown away by it. I go back to
36:11
Speaker 1: the office when it was over, and I said, this
36:14
Speaker 1: thing is terrific. It's amazing. And I said, well, go
36:17
Speaker 1: right up a couple of ads and let's get it
36:19
Speaker 1: off the off our plate. And I said, wait a minute,
36:23
Speaker 1: you cannot sell this movie the way we've been selling
36:25
Speaker 1: all the westerns. They always sell westerns the same way.
36:29
Speaker 1: More guns, more babes, more bullets, more blood, more gold
36:33
Speaker 1: than you take a stick at. And you made it
36:35
Speaker 1: quick and you showed some cleavage, and you showed some
36:38
Speaker 1: guns being fired, and you showed a pile of gold,
36:41
Speaker 1: and that was the way you sold your movie. I said,
36:44
Speaker 1: this is more important. This is this is really special.
36:47
Speaker 1: And I argued with him for such a long time.
36:50
Speaker 1: They said, okay, go take a try, show me what
36:52
Speaker 1: you want to do. And they wanted to get rid
36:55
Speaker 1: of me so that they said good in the office
36:57
Speaker 1: and go take an art director and go do it
37:00
Speaker 1: want to do and let me see it. So I
37:02
Speaker 1: sat down with an art director and we started talk
37:04
Speaker 1: what do you want to do? Bob? And I'm sitting
37:08
Speaker 1: there and I'm thinking. I said, you know, I looked
37:10
Speaker 1: at that movie and I watched it carefully, and they
37:14
Speaker 1: never call him anything. They called him the tall man,
37:19
Speaker 1: they called him Blondie, they called him the fast gun.
37:23
Speaker 1: But they never told him any any There was no
37:26
Speaker 1: names for him. There was nothing for him. And I said,
37:29
Speaker 1: you know, this is really this is really incredible. And
37:33
Speaker 1: I said, you know what, and I had an idea.
37:36
Speaker 1: I said, let's treat this as if it's an art
37:38
Speaker 1: film and art films, unlike regular movies, have lots of text,
37:43
Speaker 1: lots of copy, lots of words in it. And the
37:47
Speaker 1: minute when you look at an ad that had a
37:48
Speaker 1: lot of words in it in those days, you knew, oh,
37:51
Speaker 1: this is an important movie, it's an art film. Let
37:53
Speaker 1: me see what they have to say. So I so
37:56
Speaker 1: I sat down and took out we took a picture
37:58
Speaker 1: of Clint and it had him with Serapion and with
38:03
Speaker 1: a big Serapi, and we had he had his gun
38:06
Speaker 1: in one hand and a cigar in another. And I
38:12
Speaker 1: and I started to write, I said, and I decided
38:16
Speaker 1: to use the worst, you know, purple prose. You could
38:19
Speaker 1: imagine Danger fits him like a tight black and his
38:23
Speaker 1: tight black gloves. Death swirls around him like the smoke
38:27
Speaker 1: from his cheap shiroot. He is the man with no name,
38:31
Speaker 1: and once you meet him, adventure will never be the same.
38:35
Speaker 1: And then I wrote a lot of copy after that.
38:37
Speaker 1: But that was basically it. And it was selling the
38:39
Speaker 1: image of Clinton and Serapi and the idea that he
38:42
Speaker 1: was the man with no name, and it was his
38:44
Speaker 1: vicious killer and fastest gun ever seen, and he had
38:49
Speaker 1: took off all of a sudden I'm all going through
38:51
Speaker 1: the town and through New York City, and I'm seeing
38:53
Speaker 1: it on buses, on trains, on big posters, you know,
38:56
Speaker 1: on on billboards, and it's the Man with the Name,
39:00
Speaker 1: the Man with No Name. So it became the symbol
39:03
Speaker 1: of the movie. It became a symbol for Clint Eastwood.
39:07
Speaker 1: And in fact, when when they did A Few Dollars More,
39:10
Speaker 1: which is the next movie, they picked up that, they
39:13
Speaker 1: picked it up again, they said, the Man with No
39:15
Speaker 1: Name is back, and then and then it became his monika.
39:19
Speaker 1: It kind of like a thing, a go to thing
39:21
Speaker 1: for Clint on a bunch of his movies, even the good,
39:24
Speaker 1: the bad, and the ugly, you know. So so I
39:28
Speaker 1: it was I felt, you know, by doing that, the
39:32
Speaker 1: film became so well known, you know, as it was
39:35
Speaker 1: just being released, that I feel that, you know, I
39:38
Speaker 1: helped to build the image of Clint Eastwood.
39:40
Speaker 2: Did you get to know Clint Eastwood or made him or.
39:44
Speaker 1: I've never met him. I went to one time. I
39:48
Speaker 1: pitched an idea of the story to Warner Brothers, and
39:52
Speaker 1: and I was meeting with the president of Warner Brothers
39:53
Speaker 1: and telling him the idea, and we talked and we
39:56
Speaker 1: laughed a little bit, and then I told him the
39:58
Speaker 1: same story about about Clinton and all that stuff, and
40:01
Speaker 1: I said, you know, we tell him if you speak
40:03
Speaker 1: to him, tell him, because clint was doing a lot
40:06
Speaker 1: of movies at Warners. And I said, if you see
40:08
Speaker 1: him telling me he owes me ten percent of his
40:10
Speaker 1: a tire income. And he's laughed, and he said, I'll
40:12
Speaker 1: tell him. But I never got a chance to meet Clinton.
40:16
Speaker 1: I always hoped that someday I wouldn't and I would
40:19
Speaker 1: be able to have the pleasure of telling him, Hey,
40:21
Speaker 1: you never know, he's still kicking. You might be able
40:22
Speaker 1: going to meet him. I know he's ninety ninety four.
40:25
Speaker 1: How did that happen? I feel like I just watched
40:27
Speaker 1: Clinty's When It is Dirty Harry Days yesterday. You know,
40:30
Speaker 1: how did that happen? You know, He's just he he
40:34
Speaker 1: has a way through throughout his career. There is a
40:39
Speaker 1: reason that that, you know, people of certain brilliants and wisdom.
40:43
Speaker 1: I have a way of keep going along, either being
40:48
Speaker 1: one step ahead of the media at the time of
40:53
Speaker 1: the of the world at the time that he's that
40:57
Speaker 1: he has always stayed ahead of his audience, but giving
41:01
Speaker 1: them what they want and helping to define what it
41:04
Speaker 1: is that they that gives them pleasure and the idea
41:07
Speaker 1: of becoming the cop who helped you know, didn't listen
41:11
Speaker 1: to any rules and did what he felt was right
41:12
Speaker 1: to get justice. He fit into into that that decade.
41:16
Speaker 1: He was perfect for that decade. Later on he was
41:20
Speaker 1: a more trouble figure, and later on in Westerns with
41:22
Speaker 1: The Unforgiven, he analyzed his life as a killer. I mean,
41:27
Speaker 1: he's always been so smart and so skillful and so
41:31
Speaker 1: brilliant that he's able to tell stories that aren't just
41:38
Speaker 1: in keeping with what people are liking at the time,
41:41
Speaker 1: but it's just one day ahead of them, and and
41:45
Speaker 1: brings he brings them along with him because he identifies
41:49
Speaker 1: what they are looking for. And I think he's brilliant.
41:52
Speaker 2: Well, I think we think that the Shake It Off
41:55
Speaker 2: team that you're brilliant, Robert Morris, and we want to
41:57
Speaker 2: him back on, not only with Lucas, but with this podcast.
42:01
Speaker 2: So I hope you have back on soon, and we're
42:03
Speaker 2: going to get deeper into your Hollywood life, knowing the Honeymooners,
42:07
Speaker 2: Hard Carney and Jackie Gleason and of course one of
42:11
Speaker 2: my favorite movies, Silver streak Gene Welder and Richard Pryor.
42:14
Speaker 2: I want to get some insights into that movie and
42:16
Speaker 2: what it was like, you know, maybe stories you've heard
42:18
Speaker 2: from the set of that movie. With the two of
42:21
Speaker 2: them yucking it up almost every scene, it felt like.
42:24
Speaker 2: So I want to get more of that the next
42:25
Speaker 2: time we talk here on the wall in the Gut Network.
42:28
Speaker 1: Well, that would be great. I hope people go to
42:31
Speaker 1: Amazon and look at Black Sun, Day of the Humanoid
42:33
Speaker 1: by Bob Boris and any of the writers out there.
42:37
Speaker 1: I do hope they come and visit Hollywoodmedia dot com
42:41
Speaker 1: and come take a look at what we try to
42:43
Speaker 1: do to help writers to achieve their dreams.
42:47
Speaker 3: All right, and in the words of well it's a
42:51
Speaker 3: sort of paraphrase Clint Eastwood, we do hope you feel
42:55
Speaker 3: lucky about Black Son's chance to move forward and maybe
43:00
Speaker 3: become a movie one day.
43:01
Speaker 2: We'll have to say, right, Robert.
43:03
Speaker 1: My fingers across Amen.
43:05
Speaker 2: All right, Robert, thanks again, Robert Boris. Check them out Hollyword,
43:09
Speaker 2: Hollywordmedia dot com and we'll tag that in the description
43:13
Speaker 2: below on the one look Up Network.
43:15
Speaker 1: Thanks again, Robert, Thanks so much. Enjoy the day.