Live At DocuFest 2018

It is 6.45 on the East Coast.
It is 3.45 on the West Coast.
It is the 13th of October in the year of our Lord 2018.
We are on season nine episode 13, 460 times.
This voice has welcomed you to the Clubhouse podcast.
We are so glad you're with us this evening.
We are live to tape tonight because it is time as it is
about this time every year.
Dallas video fest kicking off a little bit differently.
Kind of like they did last year, but it is doc you fest weekend.
We are so happy that you're here with us.
My name is Rob.
I am the executive producer of the Clubhouse podcast.
And I think we just popped there a little bit.
So that's good.
And I'm kind of digging this mother, especially Monday.
The high is like 44.
Let's do this.
But I'm not alone.
We want to say first of all, it is Don's birthday today.
So happy birthday Don.
We saw him earlier.
He's out celebrating with his lovely wife.
He'll be on the show tomorrow night where he will get his birthday gift.
Cause I'm not giving it to him if he ain't on the show.
So sitting in the co host chair chat also want to sign in as well.
Is a man who enjoys to phrase things.
He is Alex.
Welcome, sir.
Really, you're going to go with another t-shirt joke.
Yes, actually, it's just great to be here at doc you fest.
It's fascinating.
I had so many different topics on even short films and throwing that over.
We do have somebody with us who have our very
first guest of the evening and let me push a button here.
And I will let her introduce herself.
Hi.
I'm talking right into that thing.
Be on it.
I'm Julia Dyer.
I'm an independent filmmaker based in Texas.
All right.
And you have two shorts in the festival.
I have two shorts.
Let's talk about it.
Great.
Well, I wanted to
use my skills as a filmmaker and access to try to have an impact on the midterm
elections coming up.
And we made two short films that are profiles of voters in the Texas
elections and talking about what matters to them, their families, the issues
that are driving them, the feelings that are driving them, the reasoning that's
driving them to the polls in the midterms.
So you had two different shorts.
Yes.
Were you looking at two different voter profiles or does one kind of lead
into the other?
Well, both of the the voters that we were looking for and the purpose of our
films was to find voters that were supporting the Senate candidacy of
Beto Ororque.
I think that we started working on this project in the spring in the time
since then.
I think there's nobody in America that doesn't know who Beto is.
I was going to say, I mean, the Texas election for Senate is is, I mean,
they they profited a parody of it on Saturday night live last week.
So a lot of I hate to use this phrase.
The eyes have Texas, but there's a lot of eyes on Texas right now.
Well, we didn't really have any idea that there would be this much part of the
zeitgeist by the time that we finished the films and got them out there.
But we being, you know, locals, we were aware of his candidacy from the time
that he launched it.
We thought he was a great candidate.
We thought he was worth supporting.
We thought as filmmakers, it was our privilege and our duty to try to
make an argument and, you know, that you can't make any other way and to try to sort of,
I think the thing that was unique that struck me from the very beginning of Beto's
campaign of going out and hearing him talk and meeting him was that he really
was making an emphasis on conversations on getting out and meeting and talking
to the voters in a really real and authentic way, not a pretend way, but
literally traveling across the entire state and taking hours at a time to meet
and talk to people and answer questions.
And that was just, I think I wanted to find a way to sort of film a conversation
with a real voter and be able to amplify that and share that with tens of
thousands of people instead of a few hundred people or whatever that can
crowd into, you know, a town hall.
Now, with you talking about how it's the conversation, it's the direct contact
with his constituents or potential constituents.
Would you say that that is something that has been missing, that is what drove
the importance of for Beto or work?
I think that is definitely what capture people's imaginations and
capture people's hearts right from the beginning because, yeah, it
when's the last time that you met a senatorial candidate?
That is also true.
I have never, it's been a very, that will depend on which year I choose to run.
And when's the last time that you felt that someone was actually listening to
what you had to say and responding to it?
And, you know, I think the fact that he really was legitimately said that's
what he was going to do and then he went about doing that was extraordinary.
And we wanted to be able to capture the intimacy and the, um,
the feeling of that on film.
Well, you said you started filming in the spring.
How long did it take you to really get it to where you wanted it to be?
Well, it, we were working on it intermittently with other paying work.
Obviously, we only filmed a couple days with each of our, uh, subjects and
how many subjects total?
With two.
So each film is about one.
Oh, each one of them has one.
Okay.
Okay.
Okay.
All right.
And it's basically, um, a conversation with her, I mean, it's, uh, where
she talks about, um, what the issues are that are facing her family and her
community and they're two really different.
One of them is a quite well off suburban, um, mom highly educated, um,
comes from a community that's heavily Republican.
And, um, the other one is a young Latina who lives in West Dallas, who, um, you
know, her many, as she says, many of her cousins, she's a citizen, but many of
her cousins are on DACA and her concerns and, uh, are quite different.
And so they each speak to the things are really, um, inspiring them to be
active in this election.
And they're not the same, but yet the conclusion they both arrive at is
very similar, which is to really weigh in and become engaged and try to,
sorry, I think I just hit something.
Try to get out there and speak to their own communities and bring them to
the polls.
I mean, literally, that's what it's about, like, getting people.
You're absolutely, I've actually think I was going to say that's the thing we
really want to drive home.
No matter what side of the fence you fall on, your voice is important.
And we don't deal with politics a lot on this show, but in a situation like
this, the question is asked and we want to tell people, if you don't vote,
you can't complain, right?
Your voice is important.
And a lot of people will say, well, you know, I'm only, but you're only one
person, but that one person's voice.
That's when I vote, that's the way I feel.
When I leave that poll, that poll, that polling station and I get in the car,
I've made my voice known.
I've put my opinions out there.
Was there anything in this process that either of these subjects said to you
or inferred to you that opened your eyes to anything?
Well, I think certainly with Angie, who was the young Latina voter,
the degree of insecurity that she feels on a daily basis about literally
will her family and friends still be here tomorrow was, it wasn't something
that I wasn't aware of, but I certainly didn't have a sense of what that
felt like in the ever presence of that.
And it just brought it to mind and into my heart in a way that it hadn't been.
And hopefully it does the same for people who see the film and who might
maybe know something or understand about what's going on with at the border
and what's going on with people who are the dreamers whose status has been
thrown into question, but to literally here, you know, a 22 year old girl,
fearful of, you know, that her cousins could be sent to a country that they've
don't even know they've been here since they were the small children or her best
friend just ripped literally from her arms is really heartbreaking and eye opening,
as you said, and it sounds like something that not only does it have great
importance in the state of Texas, but you could apply that everywhere where you
have, you know, this was the country of immigrants.
So you're looking at the idea of how many people this affects.
So you're looking at the microcosm of Texas that could stretch it out.
It's just a fascinating topic.
Well, and I think that's part of why so many eyes are on this state in this
midterm because we are facing a lot of truths that other states are facing,
but we're facing it for lack of a voter term on a bigger scale.
Well, and we're just more intimately involved with it.
I think that was one of the things too that I really would attract to me to
about those candidates in his campaign was that he's from El Paso and he talked
from the very beginning of saying the border, the issues of the border and
immigration are not easy issues, they're complicated, they're multifaceted.
And yet we in Texas should be leading on these issues.
We're the one, we have the longest border.
We've lived for centuries as a mixed community and Texas has been part of Mexico
and, you know, like families live on both sides of this border.
And we know how what the issues are and we should be leading and finding the
solutions that that work for everyone.
And instead, we're sitting back and letting it happen to us.
And so to me, that was just a really important message again.
No matter, I'm not, you know, people have a lot of different concerns.
But, but we shouldn't, we should be trying to find solutions that are humane and,
and, you know, lead to everyone's safety and security.
This next question is going to sound a little weird and you'll have to forgive me in advance.
Was there a struggle for you for a level of objectivity here?
Or was there a goal for where you wanted it to be as you were preparing for this?
Um, well, I, I mean, I'll just be perfectly transparent.
Our intention was to make films that would be supportive of Beto's campaign.
And that would speak to people that might not necessarily be his automatic voters.
But that would, um, would bring their attention to things they might not have thought
about or reach them at an emotional and at the level of their heart, um, to possibly
persuade them either to come out and vote if they're not voters or to possibly
change their vote if they weren't comfortable with the political, um, side that they've been on.
So we did have a goal.
We, we certainly, but in terms of the actual making of the films, no, I think, um, both
of these women were so articulate and, um, willing to bear their souls and, um, just
totally charming and intelligent and enjoyable that we weren't trying to make them say anything.
You know, we were just interested to see what they were going to say next.
So the hardest part was editing, you know, just getting it down to two and a half minutes.
Yeah.
So the interesting with the shorts, I find it really fascinating because you had a singular
goal, it appears with the support of Beto O'Rourke, but you went with the two different directions.
Was it more along the lines of showing both of them together so that you would say,
hey, here's somebody that's maybe in the same situation as you.
Here's another person who's not, but it works for both.
Or is it more targeted of one film is more directed towards one audience and another short film
to the other?
I think it's kind of both.
I mean, I think the idea was, yes, that we wanted to show a spectrum of the, um,
kinds of concerns and the kinds of families and people that might be attracted to Beto's campaign.
And, you know, certainly we weren't unaware of the idea that, you know,
educated women are big drivers in this election.
And the Latino vote is also just a huge driver in the Texas elections as well.
So we were hoping that that would be helpful.
So if I'm not mistaken as you were approaching the table,
you had just been to the screening of your shorts.
Is that correct?
Yes.
How did it go?
Oh, it was great.
It was great.
People really loved them.
And I'll just say like from a film nerd point of view that we shot the films on iPhone.
And that was my first time shooting on iPhone.
I actually lured my brother who's a really great writer and, um, and filmmaker.
He lives in Idaho now, but I lured him down here to work with me on this project because he
really wanted to, uh, experiment with filming with iPhone.
And I said, well, I have a project.
Bring your phone.
Let's do this.
And so this was my first time to see the films on a big screen.
How did it translate?
It looked awesome.
Isn't it amazing how far the technology's come?
Well, we shot, um, for, again, for the film nerds.
We shot with iPhone Aids.
We shot 4K.
And we actually had a couple of lenses that we bought that were, um,
zice-made German glass that would fit on, you know,
how a little adapter that would fit on your iPhone.
So we were able to bring a little bit more art to it.
But I was amazed at how well the picture held up.
Like nobody in the theater knew.
And it didn't look any different than any of the, it came at the end of another compilation of films.
We saw Soderberg had a whole feature this year.
Shot on iPhone.
Did he?
Was called Unseen.
Oh, right, right, yeah.
That was completely shot on iPhones.
Our marketing guy saw it and he said it looked phenomenal.
It's crazy.
Well, I'd only seen these like on my computer screen.
And then they've only been shared like on social media and online.
So I've only seen them, you know, we made them basically for people to look at on their phones.
So this is the first time you saw it on a theater screen?
Yeah, it was really fun to see it.
And it, people were amazed when I said how we shot them.
So was the entire thing shot with the lenses?
Or is there some that has lens at some that was straight iPhone?
Well, we had two different lenses.
So we shot actually three different focal lengths.
We shot with the native, um, iPhone, which is kind of a medium lens.
And then we had a pretty wide angle, which was really stunning.
And then we had not a full telephoto,
but something that we'd get us a little closer.
So it was fun to be able to swap them out.
And literally you could just put it in your pocket and then like,
pull it out, just screw it on really quick and you're like, okay.
And then he was plugging the computer to edit.
Like, it was really fun.
Do you have those moments or like, you kids don't know the struggle of us back in the day?
Oh, my God.
As a former DJ, I have that all the time.
Literally.
Like, you don't know that it's like the Kiri Kreitz records.
When I went to film school, you know, my film,
one class, we shot with, um, with Elmose, which are those like
indestructible metal wind up 16 millimeter reversal cameras that they used in World War II.
Yeah.
And, um, that was how I started.
And, you know, like, cutting on a rewind.
And so to think of the span, I've been so fortunate to,
to span from that all the way to where I can pull the iPhone out of my pocket,
screw his ice lens on it and then like,
write download it to my laptop and share it to 50,000 people.
I recently had to do a project at work.
And it was a short seven minute film I had to do.
And then using things like Adobe Creative.
And thinking back to the last time I did something like this,
I had two VCRs and dials to work with.
I was like, in a video toaster on a Commodore 64.
And I was like, this is so amazing.
I hate this.
I know what you're talking about.
Totally.
But it makes you appreciate this so much more.
It's like, oh, if I screw up, I can hit an undo.
I don't have to redo everything.
And I can layer it.
And it's the technology has just come so far.
Is documentary what you specialize in?
No, actually, narrative is more of my specialty.
But I really enjoyed doing this.
And I mean, I've done a lot of everything.
Obviously, to be a regional filmmaker,
you have to be able to do everything.
And you're from this area?
Yeah, yeah.
So my passion is really fiction.
And I've done a couple narrative features and bunch of other stuff.
But this was probably maybe one of the more important things
I feel like I've done.
And I hope it makes an impact.
Who influences you?
Well, I grew up in the 70s.
So I feel like that was really the golden age of American
cinema, the most recent golden age of American cinema.
So I was definitely influenced by those more gritty indie
filmmakers.
But I have to say lately, I've been so inspired by, like everyone
else, it's not original or anything.
By the incredible television, by the incredible writing
and filmmaking happening on TV.
What was the film that you saw that made you go,
ooh, I want to do that?
I always ask this question, all of our filmmakers,
because I'm always intrigued by this question.
This is kind of corny.
I don't know that it's the exact answer to your question.
But the first film that I saw that really,
I understood that cinema was an art,
and not just for entertainment, was Lawrence Barabia.
Oh, that's not corny.
That's a great answer.
Well, everybody says it.
That's just funny.
But when you read that, good.
It's really true.
Like, I was 12, I think.
And I lived in Europe at the time.
And my dad was a big cinephile.
And he literally took me on a bus one night.
And rainy night, to the far side of town,
like a 45 minute bus ride to this tiny little theater,
where they were showing Lawrence Barabia.
And I just remember watching it in that infamous cut
from the match to the sun rising over the desert.
And it was like, in that moment, I made the connection
that, oh, movies aren't just like for fun,
although I loved movies.
But there's something more going on here
that I don't understand.
And I think that planted the seed.
But it was quite a few years later
before I realized I could actually go to film school.
And somebody would teach me how to do it.
And I could do it for a living.
I miss the days of the one theater house,
or the one house theater.
I mean, when I saw Star Wars for the first time,
I was three.
But it was that old school downtown, small town theater
that had the balcony and the lobby cards.
And I just, I miss that.
And I think the Alamo does a really good job
with that for the most part.
The Angelica, which is where we are.
We forgot to say we're at the Angelica
in Mockingbird Station.
The Angelica gets it.
And because they have that foot in both worlds.
And we have that element, but we just don't have that.
And I miss that.
Well, we do have that here.
We have the Texas Theater.
I don't know if you guys know.
Which was the opening night, the other night.
I've actually been there.
The Texas is amazing.
Those guys do an amazing job.
And actually, where I live in Denton,
there's an old theater that on the square
that's been defunct for quite a few years.
And they are finally going to renovated and restored.
And some of the guys from the Texas Theater
are involved in that as well.
That's amazing.
So I'm so excited.
It was the one thing that I feel like I've been missing
in my town.
So hopefully, yeah, I agree.
I saw a jaw as the first time on the balcony at the old
outlet.
And I can still remember being in a row
with like 12 of my girlfriends and just screaming,
bloody murder.
You know, it was visceral.
And I got really lucky where I was at in Pennsylvania.
I worked with an attorney who, his side love,
was he bought the old theater that was in the town, revamped it,
put everything into it.
So I can totally relate to exactly that one house
theater that was talking about in the connection
that you get in that, like you were talking about
with the visceral experience.
It's fascinating.
Going from the idea of now where you have, it's this door.
It's this door.
It's this door.
It's this door to the idea of everybody
is going to see this one thing.
And you got what three shows of it a day.
Right.
And what I got kind of pivoting back to it,
I was kind of curious because you had brought up
going to film school a couple of times
and I was just wondering, where did you go?
I went to UT in Austin.
It was a great program.
Oh, UT Austin has a great film and theater program.
It's very, very strong.
Yeah, it was a really good program.
I mean, I don't have anything to compare it to.
Although I've taught and quite a few programs since then.
And I thought it was a great program.
And my actual, my film one teacher that taught us
that class where we shot with the almos
was a great documentary filmmaker.
And she went on to Stanford and run some program there now.
So I feel like that was also, I thought she was pretty great.
And I felt lucky to have her, but definitely
the rest of the world thought so too.
Well, it is October.
We're on the Mad Dash to the end of the year right now.
What kind of films are you looking forward to right now?
Is there anything that's kind of like you're like,
I want to go to there right now?
Honestly, I'm completely 100% focused
on the election right now.
OK.
All the time that I have is being devoted to the midterms.
We've got three and a half weeks.
So I'm going to be out knocking on doors tomorrow.
I'm already blinking.
It's going to be here.
I'm going to be cutting 60 second versions of my shorts.
They're two and a half minutes now.
And they've gotten a lot of traction.
But I'm going to be cutting one minute versions
and putting back out again and hoping that they'll
get better elected.
Well, before we let you go, I told you earlier
that we founded this show on shameless self promotion.
So we want you to go ahead and give out all the information
you can, working people get to the films, social media,
everything.
How can they get in contact with you
if they want to get access to everything?
OK.
At the risk of God knows what.
The films are, will they're available
to see, share, and download on YouTube
at Rancho Notorious, just like the old movie,
if you guys remember that.
So that's my YouTube channel.
And they're called Kindness and Blessed.
Those are the two films.
They're also available on my Facebook page, Julia Dyer,
which is, I've made public for now,
so that people can easily share the films.
That D-Y-E-R?
D-Y-E-R.
Like, first?
That was Dwyer, wasn't it? Nevermind.
D-Y-E-R, right?
And they're also available on Twitter,
which is also Rancho Notorious Twitter page.
So any of those feeds, hopefully we'll be out on Instagram
once we have the shorter one minute versions as well.
But we would really appreciate anybody going out
and sharing the films to their people.
And hopefully not get any bad actors jumping in.
And get out there if you haven't registered to vote,
register to vote.
It is one of the most important things that you can do.
It's one of the things this country was bounded on.
Well, sadly, the registration deadline in Texas was Tuesday,
so it's today to register now.
But definitely you can get out and vote
in within about a week and a half,
I think early voting starts October 22nd.
And let's say it's November 6th.
And there are many, many opportunities to volunteer
and help go out and have these conversations,
real live conversations with your neighbors
that these films are sort of emulating and amplifying.
Thank you so much for sitting down with us.
Thanks for having me.
This was really fun.
Enjoy the festival and go get some rest
because you got some work to do tomorrow, all right?
Exactly.
Okay, thank you so much. Bye-bye.
You are listening to the Clubhouse podcast.
We are live at the Angelica Film Center
at Mockingbird Station for DocuFest, part of VideoFest.
And for those of you that are not long time listeners
of the show, this is the beginning of it all.
This is our six year running with VideoFest.
The very first festival we ever did was VideoFest five years ago
now, somebody thought enough of us
that said, hey, we want you guys to do your podcast.
And they've had us back every year.
God bless them.
But this is, it's a little bit different this year
because we're kind of like last year,
but it's a little bit longer of a time frame.
So DocuFest is this weekend,
and then we're spacing it out big this year.
And if you got to have somebody talk about VideoFest,
she just sat down in front of me.
There are, we talk about this ad nauseam on this show
and I will continue to do it until
while I still have breath in these lungs.
But there are two people in the now,
we're now in season nine.
In the eight years and almost four months
that this show has been on the air,
there are two people that have basically been responsible
for the success or perceived success of this show.
One of them is no longer with us.
And we think about Gary Murray every day.
He was a guy that said,
hey, you guys should go to screenings
that you're going to be reviewing movies anyway.
You should guys could be part of the press corps.
And so he's the reason that we were able to get with people
like Allied Integrated Marketing and Gailor Smith
and Sly Fox and Levinson.
And then there's one other person.
And this one person we ran into once somewhere
and I'm going to have to have her fill in the blanks
because I don't know the first time we met her.
But she was the one that said,
hey, what would you think about doing your show
at a film festival?
And we went, yes, please do that the thing we will do for you.
And from that has spawned so much cool stuff
that we've gotten to do, it's absolutely insane.
And her name is Kelly Kitchens
and she is sitting here in front of me.
Hello, friend.
Hello, hi.
You're supposed to text me.
Oh, oops.
You're supposed to text me and you guys are coming back.
So if it counts for anything, we started,
we had a phenomenal interview.
Yeah, I know.
I'm so glad she is awesome.
So when did we first meet you, friend?
Okay, so this is funny.
Well, it's not, I think it's funny.
But I think life is funny.
So it's okay.
Um, so Don, Don Ford, who's birthday is today?
Happy birthday, Don.
Send me an email and he said, hi, this is Donald Ford
with the Clubhouse podcast.
And I've got this and that we do this
and this and he laid it all out.
And he said, is it possible for us
to come and cover some of your stuff?
And I was like, well, of course.
I love it when when people come out and cover things
and especially come out to experience the festival
in its glory because, you know, you can,
you can have early interviews one on one with people
but to actually experience the festival
with the people coming in and out of the screenings
and people being excited, you know, oh my gosh,
I would have never seen this,
but I took a chance on it at the festival.
And that I think is so important.
That is what festivals are meant to be,
I meant to do, you experience things
that you would not normally go to
or not normally, you know, be attracted to,
but you never know because you might find your thing
and you didn't know that that would be your thing.
So that's how we met was through Don Ford.
And then I met you guys, you guys came out to the fur,
to the Dallas video fest
five years ago when we had it at Alamo in 2013
and you took over our lounge, which was so fabulous.
Well, it was funny because they
as Alex mentioned Taco joint.
And I'm like, that was a media lounge
from the first time we did video fest.
That's now our restaurant.
And we always joke about the goat
that was on the wall with it.
The goat video. It was so artsy.
Oh, it was wonderful.
Yeah, because that was, there was a loop of goats
going up and down and up and down and up and down.
And it was mesmerizing up and down.
So this little, this little, there were goats.
This was, this was experimental art video.
And there were goats going up and down this slide
and then they were kind of jump off.
Yeah, and there was like a rail in the room
so that it kind of looked like the goats were on the,
it was the strangest thing, but it was mesmerizing.
It was in the corner.
And so they would go up on one side of the wall
and then they would come down on the other side of the wall,
not real goats, goats on film, on video, video.
Because it was video, video fest goats.
Yeah, it was projected on the wall.
It was, it was, well, we have to introduce your friend
before we put her on there.
Sorry.
No, well, let's get her up on here.
Also, you brought with you, my friend.
Hi, this is my friend Alexa Foreman.
Get right up on top of that thing if you would please, man.
I'm scared to.
Don't be.
Goats are gonna move you, charat.
I will.
OK, OK, OK.
Oh, no, no, no, we want to get to talking about your movie
as well.
Keep going on the Dallas.
But this was the first year that we worked with Kelly.
And it was one of those things where we don't like, OK,
so we've got this opportunity.
And we were like, Chad and I were both like, OK.
Because you got to think this was season four.
We're in season nine now.
And we were like, OK, I'll write a run sheet.
We'll do this thing.
And then we started talking to filmmakers.
And it was kind of like, OK, this isn't,
this isn't as intimidating as we thought it was going to be.
Well, and the thing is, you guys had told me
that you had been to Fox and Hounds or something.
Yeah, we were doing the monthly shows there.
Yeah, and, and so I was like, oh, it'll be the same thing.
Oh, my God, totally not.
But we got, you know, and that led us to, again,
if we don't have that moment, we don't do things like Diff.
We don't do things like Asian Film Festival of Dallas.
We don't do, you know, Don cover Texas women's last year.
Yeah.
You were the, you are the Kevin Bacon of all of this.
And because of that, that is a good poll right there.
That's excellent.
And, you know, and Kelly was what has been for,
for lack of a better term, she's been our champion.
She really has.
That's true.
She's the one that has been able to go to these things
and say, look, bring these guys.
They're, they bring their own stuff.
They're low maintenance.
They just need an outlet.
Yeah, let's plug them in.
That's all we need.
And we've got to do so much cool stuff
and meet so many cool people, you know, that it's just,
to me, it still blows my mind.
Well, and, you know, the oil that greases the weed.
She is, absolutely.
Well, and, and you know, Don, Don told me that Gary asked not
to mention his name in case, in case people were not happy
with you contacting them, but I am just again,
so grateful to Gary for having you guys contact me.
This was a guy that, again, that's why he's the other person.
Yeah, I know, I know, you know,
and he's mentioned first, which he should be.
And Chad should tell me he is going to stop by.
So we're going to see him in the end here.
Oh, no, he's on his, he's on his way now.
He's on his way now.
He'll be here.
I like her.
I like her a lot.
You know, we were just kind of like,
we're just a couple of slubs that sit in the office at my house
and talk for two hours on a Sunday.
And then you, so this is red radio becoming visual.
I mean, on Sunday nights, it is now.
Well, this is more like on demand radio.
So people can listen on their phone, but on Sunday.
He's demanding to hear you talk.
I'm so demanded.
And then so, but our new, our show on Sunday nights
on our normal show, we actually are in a radio studio
with cameras.
So now there's a video element involved.
And there's been a learning curve there.
I'm learning how to not look at the camera
when I'm trying to talk to Alex.
I like how you say there's a learning curve
as if it's past.
Oh, no, I didn't say there was a learning curve.
I said there is a learning curve.
But Alexa, let's talk to you.
You don't have to put on makeup.
Oh, no.
Oh, I'm pretty naturally.
I just tell people I have the perfect face for radio.
And I just leave it at that.
You know.
So can I tell the story of Alexa before?
She is our guest.
So yes.
OK.
So I, we've talked about this before,
but I'll bring people up to speed if they're new to me.
My husband, Mark Ricochet and I go to the TCM
Turner Classic Movies of Classic Film Festival every year.
And that's one of my favorite weeks
to watch you on social media because of all the just mad cap
stuff.
That's the only way to describe it.
It's the mad capness that they do every year.
Yeah, yeah, because you'll go all in.
We do.
Y'all are just passive film festival goers at TCM.
Y'all are all in.
Yes, we are.
Yes.
And so over the years, I've had the opportunity
to meet several people who work for TCM, which I just
have to say is my dream job.
Anyway, so move around a little.
What do you do in the universe?
If you don't speak it to the universe, it can't happen.
Right.
That's another story.
But anyway, so I've had the chance
to meet Alexa at the TCM Classic Film Festival.
And I bet you through, we'll see.
We'll see, Akerman.
Who is a good friend of Alexa's and has become a good friend
of mine, which is so lovely.
So when she was working on this documentary, and I
learned about it, I was like, oh my gosh, I
want to see if I can get that to video fast.
Video fast.
Well, let's stop and talk about Wolsey.
Yes, go ahead.
Wolsey.
Get right up on that microphone, please.
Wolsey.
There we go.
A guy who's been in Hollywood for about 25 years now.
He used to do a photo research for the Academy for TCM.
He's an expert on the Wizard of Oz, Judy Garland.
He helped me which ties into you a little bit,
and some of the work you've done.
He helped me in my memories of Oz.
He helped me on that.
You can see him in memories of Oz with his dolls.
But he loved TCM, helped TCM from the beginning.
Yes.
How'd you made him?
I met him through my going to TCM classic film festival
group on Facebook.
I started that group after the social media, after the first
festival in 2010, because we met such amazing people
from around the country that we didn't want to lose touch
with, and the one to make sure that they were coming the next
year.
And so we created this group.
And 2012, I was interviewed by Ben, Mark and our interviewed
by Ben and, and yes, Ben Mankoets, I'm sorry, thank you.
And he said, so how many people are in this group?
And I said, we just got to 70.
Well, guess how many people are in the group now?
There's like 1,500 people.
Isn't that enough to get you verified?
That should be enough.
Well, get us, get us.
Oh, yeah.
To get you, get us?
And that's what it takes to get you, get us.
Then I'll start a group forever, no kidding.
You have to understand, because TCM started in 1994.
No internet, none of that.
But by the time we got to the film festival in 2010,
they were meet and greet groups for social media.
Oh, yeah.
I hope we're talking to older people too.
We're talking to everyone.
His grandmother listens to the show.
So, I'm granny.
Hi, Nana.
We love Nana.
Nana's one of our favorite listeners, man.
She's, you know what, all in.
I hear it from her after every show.
Oh, that's all.
I hated it.
Yeah.
No, it was like, that was nice, but you should talk more.
No.
Nana's the little biased.
She is.
And that's OK.
Not dinner, Rob.
So, anyway.
So, our group has become a little family.
It's become a big family.
And it is worldwide, and we all plan to meet before the festival.
So, we have get togethers.
So, the festival is in April, and it's Thursday through Sunday.
But we get, we start getting together on the Tuesday before the festival.
There's Kimberly Truler has a fashion presentation that she does, where she talks about the fashion
of the film, so that it can be played at the festival, and why they are a part of the
bigger picture of why a film works.
And TCM is a little bit different from your average film festival, because it's Turner
Classic movies.
Yes.
So, these aren't just like movies you've never heard of.
Like these are, in most cases, movies that otherwise you wouldn't be able to watch on
a big screen unless you have a big screen in your house.
Right.
Right.
Right.
Right.
Is not a festival where your movie is judged.
No.
These are classic movies.
Yes.
It's an appreciation festival.
Yes.
We like it very much.
It's very good.
Well played, sir.
Yeah, and you know, your grandmother would love that.
Oh, she will.
And there are movies that have been restored.
Yes.
And Mark and I really seek out, we are festival people.
We met at a film festival.
We met at a film festival and Deep Elm of the last Deep Elm film festival in 2005 and we
consider ourselves festival people so we want to see films and presentations that you
cannot see anywhere but a festival and that means fragments, band cartoons, those were
two of our favorites at the first festival, Vitaphone, Vitaphone, the
stream of technology, Technicolor, yes, the 3D rarities and I was reading the
other day. You're talking about Technicolor, I was actually reading up because you
know the remake of Susperia is about to come out. And so I was on IMDB reading
about the original and how they were talking about that was the last film that
was used on the 3Trak Technicolor, the last 3Trak machine in existence and
after they finished that film they destroyed that machine and although for
years they denied they did it and that later I came out I was like no we
actually did this on the 3Trak and people when you have I guess for lack of a
better term sessions like that where people can learn about like this is how
it used to be but before we could remaster things and I love and we can
remaster things that look gorgeous but I love learning that history behind it.
You're so much territory you know because you're skipping over Eastman
color that was horrible and Technicolor and all that and digital I mean
you're gliding over so much sorry I'm up. No no no absolutely but I love
having stuff for more. No I'm not skipping anything I'm just saying this is
what I'm kind of bridging. I know but in my brain it's like a Eastman color
and Technicolor. Metro color, Warner color. And when they tried to I guess this
was in the late 80s when they first started. Yeah to lots. But at the time you're
like this is amazing. Amsco color. Well a telescope but you go back and like in
the late 80s when they started colorizing black and white films. That was
Ted Turner. That is Ted Turner. And I plead guilty to that. The only good thing
about that was they had to he knew the public didn't want to see a black and
white movie on television. And yeah so it's a wonderful life. He knew no
family would sit through a black and white picture on television. Now the only
good thing about that was they had to strike a brand new negative. Oh yeah
in black and white and then colorize it. I think one of the things I saw when
it first started doing it was they had found an old Sinatra film that they
had colorized. And whoever was colorizing it wasn't paying enough attention. And
when Sinatra turned around his eyes were brown. Oh blue. Oh blue.
In Chesapele I mean the people were moving across the room and the black and
white was staying. But he really thought and I loved Ted Turner. He thought
and he got it right. No family then wanted to watch. Well black and white. And
the thing is those of us got past that. But those of us that did what we would
do is we would put in our VHS copy of it's a wonderful life because I had
that one that was colorized and we would turn the color off on our TV and it
was fine. By the way that was in public domain at the time. Yes. But you're here
here. You're here for a reason. So let's talk about your film. How much time do
we have as much as you want? Really? Absolutely. Yes. Okay. She just got
comfortable. Are you getting are you getting assured away? No somebody waved to
me. I don't know who that is. I was getting the hurry up signal and I was like
no. No. All right. Love around long. But you're here. You've got
scandal. The trial with Mary Astor. That's true. And has it screened? Is it
about to screen screened screened? Okay. When is this afternoon? Yes. This
afternoon. She's like your movie. So we were doing a little bit of research
while you guys were at dinner because we like to we like to know. We like to
know enough to be dangerous. Okay. There was some recognition on your IMDB
that researcher is your base. And we also looked up the Wikipedia on a lot of
the subject of this. But I want you to talk about it. Wikipedia. No. But Wikipedia
got to me where I wanted to be on this because the subject of your film and as
it ties to a subplot within your film was really what I wanted to know. No. But
what I'm saying is stay with me. Stay with me. No. Is how it ties into the film
Mary was working on it. That's worth it. Right. So that's why I went to the Wikipedia
page for that. Stay with me. I went to the Wikipedia page for that film so I could
read the plot of that film to see how it ties back. You with me now? No. Okay. Once again,
I would say as a movie researcher, Wikipedia, Xneta Atte. But I'm sorry. That's
Pig Latin. I know Pig Latin. Yes, I do. For those that didn't follow that was
on that. Okay. Go. But to give me to give me the understanding of how it ties to the subject
of your film itself. Go. So let's talk about your film as you went and first of all, I want to
talk about or like you to talk about what what about this story had you say I want to do this
documentary on this story because you are we've already established you are rooted in some of
the older films and some of the older stories. But what got you to say this is the story
I want to tell in this documentary. Okay. In 2014, Turner Classic Movies finally
honored Mary Astor as Star of the Month and I'd push for that. We got her in there and she has,
if you looked at Wikipedia, she goes from silence all the way up. So Robert Osborne, my good friend
the host and I talked about her and then a couple of years later a couple of books came out of
her about her. What Robert always loved was she'd been in Maltese Falcon. I love that movie.
Warner Brothers across the Pacific. She's a film noir crazy film fatale and then suddenly two
years later, she's over at MGM in a tech colored candy box thing of little women and me me in
St. Louis. It's like wait, what happened? Where's the transition here? What's up? Okay. So anyway,
two books came out on her in 2016. I'm reading those talking to Robert and I'm thinking I didn't
know about the trial. I didn't know about the child custody trial or anything. So I'm talking to him
and he said, this is pretty good. Maybe you want to do something on this. So I met Marilyn, her daughter
who was only four at the time. At the time of the trial? No, she's 86. Oh no, I'm just trying to
understand is somebody who didn't check Wikipedia. Take your shots. I'll edit all this later. No,
slow me down if you don't follow. Robert said, this is pretty good. And all we've ever seen,
you guys are too young. Hollywood Babylon. Oh yeah, the book. Yeah. I'm not a judge. I may have a
useful look, but I've got some years behind it. Guys look great. You have faces only 90. I'm good
to go. Oh, my mother does my wife puts up with it, but my mother does. So anyway. So Robert said,
this is pretty great. And I said, I think it is too. So I got to Marilyn, uh, talk to her. And then
I already knew Leonard Molten from TCM, Molly Haskell, a new David Wiler William Wiler son
from TCM. And it kept falling into place. And it's not only about her, okay, let me back up.
All right. So her husband steals her diaries. He gets the child, the house, the money.
And then she goes, no, I want my daughter back. So in the diaries are very explicit, very.
And she takes him to court, even though she knows she's about to lose her career.
She gets a good lawyer. She goes in there. So during the day, she's making a great film called
God's Worth Directed by William Wiler. At night, she's going to court. And the parallel,
the parallel between what's in those diaries and the plot of the film she's working on,
was that, was that something that you said to do from the get go as you made the film or did that
kind of happen as it happened? It came out. All these themes came out. My themes were mother,
daughter, diaries and media. Okay. Because her trial was like the OJ J Simpson trial.
All this other layer stuff has come out. That she was using her persona from the movie she was
filming during the day on the stand at night. That came out.
So you said you were first reading the books in 2016. Yep. How long did it take you to actually
get the footage together? What was the production time on this for you? Two years.
So you've been, I mean, all the way up until fairly recently then? Yes.
Have you, is this the first screening of it today or has it screened before?
It's screened at the Turner Classic Film Festival in April.
Oh, so you got to actually show it at TCM. So in front of an audience that was, I would say,
in the wheelhouse of this story. Yes. But not in a theater. It's not theatrical. It was shown
in Roosevelt Hotel Club TCM, which is the Blossom Room, where the first Oscars took place in 1929.
That's better than a theater. That's pretty cool. That's better than the Aster.
Would love that because she won the Oscar for the Great Lie supporting Oscar.
What was that experience like for you showing it in that room?
I couldn't believe it. It was on a big screen. Not too big, but great. I had to stand up,
walk all the way the back of the room, and I'd gotten my editor and graphics guy flown in.
They're all TCM guys who work with me. They did the work for free. Oh, wow.
I've been working with them for 20 years. And I said, I like this project. They said, I do too.
The work done it. So I moved to the back of the room and watched it with them.
And it was unbelievable.
Some of the names that you've got to attach to this because of your connections at TCM.
I mean, Leonard Bolton, like that's the guy. As long as I mean, I remember entertainment tonight
when it first hit the air. And he was the guy. He was the guy that you watched because
his reviews were the ones I've lived and died by when I was a kid. Did Leonard Bolton enjoy
this film? And there was only video. Right, right. And if he didn't like it, I was kind of hesitant
to go. And maybe I watched it down the line because he was that guy that I felt like he knew my
taste in the film. Talk about being able to work with him on this film. Was there anything that
he told you that gave you more insight than you had before? Because this guy's written volumes
and volumes and volumes. Like you could kill a mule with some of the volumes. I know. I know.
And I bought every one of his books. You're too young. He's short subject books in a hardback.
Disney books in a hardback. Yeah. So I knew about him before entertainment tonight.
All right. So when we TCM starts the festival, we've already been there from 94 to 2010.
We've been there. Right. So they fly a couple of us out to from Atlanta to LA.
And my job, I have two jobs to get Louise Reiner, the Oscar winner who's a hundred.
I don't know if you're listeners. No. She won the Oscar for the good earth and great sick film.
You're great sick film. Right. Two Oscars in a row. Back to back. Like Tracy with
voice down and captain's crazy. Oh, that's right. Yeah. So we flew her in. And that was my job
to fly in from Atlanta to get her up on the stage. And I did that. And they said,
you're the job is to escort Leonard Malton around. Well, okay.
I'm okay with that. Throw me in the bar patch. Okay.
So that was 2010. From then on, we were and I met his wife, his daughter. I mean, we're very close.
So every year after that, he was my guy. I mean, I escorted him everywhere. And he, he's
like a college professor. He's the best. He's got to be one of those guys that she's like,
tell me stories. I'm asking everything about ants, about chaplain, about everything.
But when we're walking down the street, people don't attack him or say anything bad. They go
Mr. Malton and they shake his hand. Absolutely. Mr. Malton, I love you. Thank you. So what a pleasure.
So yeah, I knew him. And then Molly Haskell film critic who's married to Andrew Saras who died
about a year ago. She voiced my piece on King Beat or back in 95 on the network. So I knew them.
David Wiler, the son of William Wiler, Madam at one of the film festivals. You know, it just,
it all works itself. Yeah. Has this telling this story, has it made you hungry to tell other stories
of its ilk from its era? Or was this the thing like you laser focused in on this when this is what
I want? It wasn't that really. But I got to tell you this took two years. And I don't know. It took
a lot of me out of me, but it was my dream. And I've achieved that now. Yeah, I can do other stuff
if you'd like me to go. If you would like her to. Absolutely. Well, I find the topic
fascinating. And this interview is been one of my favorite things I've done on this show. So
whatever she wants to do, go for it. Ever. Ever come on. He hasn't ever show that long.
Hey, if the guests take shots, I can return fire. That's the law that is internet law.
What's your mother's number? I don't know it off the top of my head, but it is saved in my phone.
No, I mean, really, I mean, this is, you know, I worked all my life. And then, you know, 25 years
at Turner and then Robert died and Robert Osborne died. And I don't know. It's just all worked out.
It's serendipity. How did the screening go today? Oh my gosh, it was great. And tell who's there.
We had we had three celebrities there that we didn't even know about. We didn't. Yeah, really? Okay. So
so the first one was Mary's faith. Mary's faith was too young. But okay, you've got to see this film.
It's so funny. And you guys will get it. Your mother would know this. It's called the world.
Henry Orient, Peter Sellers, big fan. Okay, so this film is about two teenage girls who are
fans of Henry Orient. 1964. And what they do, I mean, they're like 14, I think. So what they do is
they read in the fan magazine, which is the precursor to online. Back of the news where you had to
wait for the magazine to cover your house. So you can read about it. Yeah. Oh, no, I know.
I know. The comic book section. And so it told okay, when he's in New York or wherever it was,
this is where he does your, he wakes up and then he goes and gets a bagel and the coffee or was it
donut? I don't know. I don't type magazines. Yeah. And then after that, he walks down the street
and then he goes and says hi to someone. So and then he goes and so these girls are like,
well, all right, we're going to follow. We're going to follow his day. Follow the stalker.
What it was just called, what it was just called fandom. It is so funny. It is so fun. So Mary
Spade played one of those 14-year-old girls. And so she was there today. Okay, so she's number
one. She was there. Wait, just a minute. All right. So in this movie is Peter Sellers. Yes.
Big fan. Angela Lansbury. Yes. Also a big fan. Tom Bosley. Tom Bosley.
Mr. C. Yes. Al Lewis. Grandpa. Grandpa. I told you, I know these things. I got a little
pop culture behind me. I mean, BB Asterole. Who else? There are another couple of other people.
And the only thing I have to go with this is I actually saw Tom Bosley do a stage production
in L.A. Of what? Of Beauty and the Beast. Oh, where was he? What was he? Uh, he played Bell's
father. Okay. And he was great. Probably now it's got stone. I'm thinking. No, not all that time.
No, no, no. No, no. He was great. They actually expanded the role for him just for the stage.
And it was like, this is fascinating. I think that's what Tom Bosley says he'll do your play.
You give him more. Absolutely. He had the only brother. He had the only dynamic prop of the
entire movie or the entire show. Okay. Okay. Let me rain rain you back. We're back. So.
So this movie is filmed in New York. It's directed by George War Hill. The music is done by
Elmer Bernstein. Greatness. It's incredible. And it's just these two kids following Peter Sellers
around who they think is magnificent. They think he's a continental pianist. Yes. But as you go
through the story, you find there are many, many levels. Many layers. And he does five different
accents because he's Peter Sellers and he can do that. But he's in America. And these two kids
listening to him all day long do different accents do everything. And my co-host actually who's
here. Chad is a huge pierceless. Yeah. Well, we do. We fired him now. He. All right. And who else?
All right. So that was one. Okay. So number two is Dorothy Malone's daughter, Mimi, Dorothy Malone,
and Jacques DeBerserak. Jacques DeBerserak. Let me say that again. Jacques DeBerserak. So
her daughter, what's her, she lives here in town. And then Dorothy Malone won the Oscar for
written on the wind. Jacques DeBerserak did not win any Oscars. What's not nominated? That's okay.
What do you marry Ginger Rogers, too? Yeah. Now, and Dorothy Malone just passed away. She did.
Within the past few months. That's correct. Or within the past year at least. And then the third one
surprised. Surprise. Surprise. Y'all. That was Joan Crawford's granddaughter. Really? Wow.
We were like, nice. Oh my god. Hi. Yeah. I mean, it was that moment. Do you know who you are?
You're right. Right. Right. Well, and what did it. It wasn't that. It was like, oh, she came to this.
And she's very sweet, very quiet. No, it was overwhelming. And what did she say to you? She's then.
Well, I asked her about how it was to be Joan Crawford's granddaughter. And this is not Christina's
daughter. This is not Cindy and Kathy. Yeah. The twins. This is Chris. This is the young boy.
And so I said, he was the youngest of them all, right? Yeah. Okay. And the last adopt. No. He wasn't
adopted. Was he adopted? They were all adopted. Oh, okay. Okay. It's confusing. I know. Sorry. No.
Christina and Chris were adopted. And then Cindy never mind. Can the audience just go to the bathroom?
While we work this out, we need a flow chart at this point. We're going to need an accessory
document. No way. No way. This is just as horrifying as, you know, everything. No, she picked them out.
Anyway, so this gal came up and I said, did you like it? And she said, yes, it
meaning the movie. She said, yeah, it makes me feel like there were more of us. She wasn't alone.
I hate to say this, but Mary Astor's childhood was not great. And either was Joan Crawford's childhood.
But that's got to be high praise for you when you get that kind of feedback. Move toward Hollywood
to be stars. Yeah. And then their children suffered and suffered for it. But to get that kind of
feedback, I mean, that's that's huge. Oh, yeah. To hear that, like, this made me feel like I'm not
alone. I'm like, I need to sit down. I know seriously. That's amazing. That's almost like one of
those words. Like, okay, this, this was your life's dream and your life's work. And you know,
it's appreciated right off the bat. Keep going, boy.
Well, I mean, it's got to be like one of those words. Like, I don't know if I'd ever, I'm
ever going to experience something like that. So how is it? Just knowing that your life's work is great.
There, but you'll be able to hear it. And you can just loop it and just play it over and over and over again.
Yeah, hit a wrong key. I'm not computer. You're the best. Your life's work is.
So I'm starting to do a ringtone. I'm still processing it. Yeah. And we talked about that. Yeah.
It's amazing. Come on. I mean, I'm nothing. I just made this doc and joke offers.
Well, apparently we have evidence to you not be nothing. We have many levels. I know, right?
Well done. Right? Right? Yeah. So are there any hopes that you have to do with the film from here?
Is there someone that would, would you like TCM to actually play it on? Do you have
connections or they can have them play it on TCM for you?
I believe I will be on Turner classic movies with it hosting it. Nice.
And then also whatever the hell streaming means.
Means you can watch it whenever you want. Yeah, I'll be streaming on film.
Well, film. Sharks are big. What's a big website though? I mean, that's tell me about it. I'm too old.
There's a lot of places that you can go to now and you can just watch movies on your computer.
You can watch them on your television now. You can see them on my phone. Explain it to the people.
Well, basically there's a server that has your movie on it. It's a server.
It's a huge room full of computers. Okay. Okay. And what I can do is even on my television,
is I can go to an application that hooks me up to those computers. Okay. And then I can watch your
movie on my TV by basically watching it live. Like I'm watching it. It's just like watching TV.
Okay. It's just like watching TV, but I'm watching your movie. No, because I can watch it on my
70 inch TV at home too. Because I haven't. There was a little bit of a brag.
That little bit of a brag. But I don't know what I'm where I'm going with this. He's got one too.
Don't let him lie. I'm not bragging about it. But you don't have to watch it on this and
everybody in their brother. We hope. But like my my screen on my phone is only like it's seven
inches diagonal. So I could watch it there if I noticed that. But I can watch it at home on my
television the same way. So does she have the best lamp ever? She is. He's laughing.
Our marketing guy has said he actually said he wants to just record Kelly's lashing on his phone
as a ring. And we have the technology to do it. He's like a tiny bird.
Oh. So you are. Do you know when it's going to show on T.C.
No. But you are going to be. Don't tell anybody. Okay. Nobody'll hear this.
I'm sorry. Can we go back to the teeny bird.
Delicate as a pink. I know. This is why we love the helicopter. This is why we love her.
This is the best show ever. Absolutely. Absolutely. There's no time. I mean we can keep going.
We go. Are until the Angelica kicks us out.
Great. Great. Because I got a lot to say. There you go for it.
So is there anything like let's let's talk a little bit about modern era if you don't mind.
Are there any about what? Modern era. Today. Modern era films. Yeah. Okay. Are there are there any
modern film style genres directors that you enjoy? Yes. Okay. Can you name a couple of them for me?
Not right now. Okay. Okay. Yes. Yes. Documentaries. I'm sorry. I'm stealing. I love documentaries.
I'm a huge documentary. RBG. That just started airing. CNN aired it a few weeks ago.
And I haven't had a chance to see it yet. You can't cut me off from my own. You can't. No. I can't. Are you fine?
Take the extender off that and put her directly in. Red light.
No, we're going to actually take yours and we're going to take the extender. Are you okay? I've got.
Okay. Yes. CNN. But have you got seen while while country? I have not. Yes. That's the series on Netflix.
Correct. My wife just watched that recently. They actually did an SNL that a parody of it.
Yeah. And my brother-in-law is with it first aired. Is it giving you take her extender off?
We're going to we're going to plug you directly and we're going to take your extender off.
I think we're going to get take care of for you. We have the technology to fix it.
Is that better for you? Is that much better for you? Is it still is it shortened out?
Anything? Hello? Hello? Hello? Better? I can't hear. Yeah, I want to hear myself.
Because I can hear you absolutely. You are clear as a bell for me.
New people?
Okay. I was crazy about the artist. Okay. That's good. Then it all faded away.
You know, it's a novelty.
Everything moves so quickly now.
But I think that is there a movie that's your go-to movie if you just if you want to watch something
is there a movie that you just go to like this is the movie I'm going to watch?
Wait, wait. So you ask about racing?
Uh-huh.
And by Lalla Land.
Excellent film.
And his new film just came out this weekend. First man.
Actually, the screening I was at Damien Chisel was there.
And not here at the Angelica was at another theater locally, but it was local.
I saw I saw first man on Tuesday night and Ryan Gosling was with him.
I was about to say there's another brag.
Right. And we also had Neil Armstrong's two sons were there.
And one of the daughters of one of the astronauts.
First man is a beautiful film. Wait, one of the daughters of the other.
I can't remember. I can't remember who her father was.
I can't remember who her father was. It doesn't matter.
It does matter, but I just at this point I can't remember. It was not both all my daughter.
No. Okay.
But it's a very well done film. But Lalla Land absolutely.
I love that film as well, because it's that what I liked about Lalla Land,
because when I was coming up, you know, every weekend,
there was Fred Astaire ginger Rogers theater on TV.
When were you coming up? I was born in 73. Okay.
So in late 70s, early 80s before the cable boom and before all of this,
on the weekends, you'd have Tarzan theater, western theater.
And one of the things was every weekend there was a Fred Astaire ginger Rogers film.
And I loved watching those movies.
And when you watch Lalla Land and you can see how it it didn't have commercials.
Yes, it had to because it was on broadcast television.
All right. Okay.
But to see Lalla Land and how it gives that nod to those old styles
when they're dancing and floating through.
And it's like, I love that.
It's like go get educated for those who don't know.
That was weird. I'm like, no, that's what they did back then,
because that was part of the deal.
That's why I loved Lalla Land as well.
And Shazel with First Man.
It's the first time he's directed a film that he didn't write.
And that doesn't, that isn't about music,
because he also did Whiplash.
Right. I loved Whiplash.
Oh, no, no. I'm good.
I'm having a great time listening on all of this,
because I did not have much of the experience with these things.
The only thing I had with my grandfather was the Sinatra movies.
Oh, yeah. So which ones?
Particularly, the one that stands out the most was the first one he showed me was Ocean's Eleven.
The original, the original, love the original.
And how many times I had to tell people to go back, watch the Ratt Pack Ocean's Eleven,
compared to...
Now, granted, I do enjoy the newer ones as well,
but nothing tops the story and everything that went into it.
And the ending of the original so much better than the ending of the original.
The ending of the original so much better.
Love the ending of the original so much better.
Yeah, I know Henry Silva.
Oh, wow. Very nice.
Yeah.
Now you're bragging.
Now you're bragging on the show.
When do I get to brag?
Oh, wait, I already did. I said I was pretty.
But that's a lie.
And you talked about your mother a lot, grandmother too.
Oh, yeah.
It's okay.
So let's go back to the other question.
I'm not going to scare it.
Oh, I have...
There's not a bone of fear in my body, my friend.
So let's go back to the other question.
Oh, Bradly.
So the other question I had for you is,
is there a... do you have a go-to movie when you just want to just relax?
Are there a movie that you're like, you know what?
Yeah, you asked me about new movies so far.
Yeah, so let's go back a little bit.
Right, okay.
And I have to say, the last few years,
it's been documentaries.
I mean, I just saw Fred Rogers.
That won't you be my neighbor?
Oh, I love that movie so much.
And I watched Jane Fonda in five acts.
I know not forever.
No, I've heard very good things.
I have not seen it yet.
Didn't that go to HBO?
HBO.
Okay, so it'll be on HBO Go, so I can watch that.
And it's listed, the chapters are Henry, Roger.
Nice.
Really?
Tom Ted Jane.
Nice.
Wow.
Now you'll learn what that exercise video of paid for.
Yeah.
Oh.
And I've also the Gary Shanling one I've been wanting to see.
Yes.
I haven't seen that yet.
It's a two-parter that HBO did,
based on his diaries,
but I've heard his phenomenal.
Yes.
And Ted and Jane, why?
Well, her mother committed suicide,
and his daddy committed suicide.
So he felt like that was through them.
It doesn't matter.
And he's back in the news now.
He was just diagnosed, yes, with a pulmonary dementia.
Yes, and he created TCM.
Yes, he did.
All right, so the last good movie I saw, you know, I can't remember.
I don't have time to sit down anymore,
but when I look back,
yeah, the awful truth.
1937.
OK.
11.
Gary Grant, Irene Dunn.
Do you know what screwball comedy is, young man?
Absolutely.
Yes.
What is it?
Well, for me, I'm thinking more of the email Brooks style,
or are you going back buster Keaton level?
No.
No, that's slapstick.
OK, then I'm going to need an education.
OK, shut us, Mike off.
Do you know what screwball comedy?
For me, screwball comedy was more like the Marks Brothers,
where it wasn't as physical.
No, slapstick, still slapstick.
I wouldn't call it Marks Brothers Slapsick,
because a lot of it was based on Groucho's wit,
and not really with the three studious, it was like,
Keep talking, keep talking, keep talking.
With the Marks Brothers, it was more about that witty dialogue,
where Groucho would have those things where you would be like,
oh, and sometimes they were comedic grenades,
where he would say it, it would take you a minute,
and then it would hit you.
To me, that screwball comedy.
OK.
Would it's more about the dialogue
than it is the physical?
OK, yeah, I get that.
Screwball comedy, to me, is bringing up baby.
Oh, very nice call.
Bringing up baby is 1938.
No, I knew that.
And what is it?
OK, so screwball comedy is, well, for one thing,
it's usually a man and a woman.
OK.
It's their dynamic.
And it is their dynamic within the, I don't like you.
I don't want to like you.
But of course, I'm really attracted to you,
Carrie Grant and Katherine Hepburn bringing up baby.
But it's also the obstacle, because Carrie
Grant is about to get married to this woman who
is a scientist, just like he is.
And she's very serious.
And she keeps putting him in his place.
And then here's this free bird of Katherine Hepburn, who
is just over the top.
And oh, my gosh, there are so many funny, funny lines
and situations in that movie.
And one I always go back to over and over and over
is where he is talking to her.
She's driving down the street.
And then he gets out of the car.
And he's like, OK, I'm going away.
You don't bother me anymore.
I'm going in this and it shuts the door.
And his coat shuts in the door, and it rips it off.
And she says, oh, you've torn your coat.
And it's just a way she says it.
That is sterile.
Now, for Katherine Hepburn, this was her first screwball
comedy, because she was doing a very serious, very serious
dramas before this.
And it's like, bam, I mean, totally opened up.
But then she became box office poison, which
was, to me, kind of crazy.
OK, so I'd like to end our check right here.
Please do.
Screwball comedy was created to counteract the depression.
The depression, yes.
Police are stupid, rich people are stupid.
Yes.
So it started off.
We think in 1934, with it happened one night,
Claudette Cobair.
Oh, see, I would think.
I would think, um, dinner at eight.
Oh, look at you, girl.
Go ahead.
Dinner at eight.
That was, that's 33.
And so, oh, written by George F's call fund.
Oh, look how you're right, Mary Astor.
Oh, it all turns back around to her.
As it should.
As it should.
I think that was on Wikipedia.
Isn't his mic is going to be out there?
OK, let's be clear on something.
Let's be clear on something right here, right now.
When you gave me your phone to look at the article
about Mary Astor, where was that article?
On his, on his phone, which he looked up on Wikipedia.
So let's be clear on it.
He's so fired up right now.
I'm going to have to jump over there and cut his PDF.
Easy killer.
Wow.
This is a family show, all right?
I don't want to put an explicit tag on this.
You should have seen the short that you're earlier today.
Oh, tell about that.
OK, can I tell about this show?
I remember it just as long as you're in this family show.
Yes.
OK, well then I will say it and away them, tell my mother.
Good.
So then I wouldn't tell this.
Can you tell my mother now?
Can you tell my mother now?
Oh, you want to go?
Yeah.
OK, yes.
You may excuse yourself.
Now I can just do it on the floor.
Sorry.
OK.
Yeah, no, I would not tell my mother about this short.
It was really very clever.
It's called Come and Take It.
OK.
And it was an accidental protest against the guns,
the open carry guns at UT Austin, which that law
went into effect on the anniversary date.
And I believe it was the 50th or 51st anniversary
date of the guy in the tower.
Which what a great documentary date that was towered.
A minute of years ago.
Oh, that's a good documentary.
Oh, that is really good.
Have you seen tower?
I have not put it on your list.
OK, this documentary is called Come and Take It.
And I will just leave it as they found a way
to make people who want to open carry guns
into class feel just as uncomfortable as people who do not,
who are uncomfortable about people
be carrying guns into the classroom.
OK.
I'll leave it at that.
And then it's PJ Ravel as a filmmaker.
And Ellen, oh, no, I forgot her name.
Start to the nest.
I'm sorry, Ellen.
OK.
Anyway, so it's the two of them.
It's a short film.
Well worth looking at a world worth searching for.
It's really funny and really eye opening.
So let's speak into which.
Let's talk about DocuFest for a minute.
Because video fest is a little different this year.
Yes.
So talk a little bit about the schedule
and how things are going to work out.
Yes.
So OK.
So this started last year.
Let me just say that Dallas video fest is 31 years old this year.
And Bart Weiss has been one of our favorite humans.
He's been the man that he founded it.
He's an artistic director.
He's the programmer for it.
And the thing is, is that we've done video fest
as a quote unquote normal film festival
like with screenings happening three or four screenings
happening at one time where you have to pick and choose.
And that goes for about a week.
And Bart's favorite thing to do at a film festival
is to introduce a film and then to do Q and A
after the film.
And so when you've got three or four different screens going on,
you cannot physically be the person to introduce
nor the person to do the Q and A afterwards.
Right.
So after the 29th video fest, basically,
he decided to break it up and have documentaries,
which was, as always, been an incredibly important part
of video fest since since year one.
So he's breaking it up into docuFest.
Then we have the co-vax award, the Ernie co-vax award.
In December, right?
Is it December this year?
December 8th?
Are they announced the recipient yet?
No.
OK.
I have to ask, as Anton, why Ernie co-vax?
I can tell you.
I'd love to hear.
OK.
So the very first video fest, Bart always
likes to include classic TV in video fest.
And co-vax was a genius.
Yes, he was.
Yeah, absolute genius.
OK.
So here's the thing.
So that first festival, 1987, which played the Dallas Museum
of Art, I believe, he wanted to have Ernie co-vax.
Films played from his TV days and the 50s
play at the museum.
And Edie Adams, who is with us, came to that first festival
and was very touched and just very was like, yes,
this is amazing bringing Ernie co-vax back to life,
basically, so people can appreciate him.
And then Bart got started the Ernie co-vax award
shortly thereafter.
And we now have Josh Mills, Edie Adams son.
He's involved with it.
Did you know Ben Modell is also involved with it?
I did.
He is the Ernie co-vax archivist.
Yes.
And every year that we would have an Ernie co-vax award,
it wasn't every year, but we went because we were very,
very specific about having people who have made,
who've been innovative people on television
to receive the award.
And so.
And I have to interrupt once again, because people
know about Sid Cesar.
Yeah.
They know about Steve Allen.
Steve Allen, Jack Parker.
Jack Parker?
Yeah.
But Ernie co-vax, I mean, he bent things.
He would bend angles.
Yes.
He would do different.
I can't describe it.
Who's ever listening?
Look up Ernie co-vax and go on YouTube,
because he had the Nairobi trio he had.
And he was nuts.
But he made it work.
And it worked on live television.
Yes, like Sid Cesar, all that.
Wasn't it live to tape?
It was live to live.
It was live to live.
And he would make the image go upside down,
or you would be underwater.
Yeah.
He was amazing.
And he was very, he was really innovative.
He was very, he was on the spot with comedy.
And just, you know, I mean, we come out of nowhere.
You're like, wait, what, what, what, just that?
And we've been able to have some really great names attached
to that award, as it's been given away over the years too.
So the very first one was Joel Hodgson, who founded Miss
3K, the new season drops in next month.
Yeah, I was the first one.
We've also had Mike Judge.
We had John Kaye from Brent Stimpy.
As opposed to Donald Lodge.
I thought that he got it the first year we did the show.
No, the first year we all did the show.
It was George Schlotter.
Oh, yeah, laughing.
And then last year was Kevin MacDonald?
Kevin MacDonald and David Foley from Kids in the Hall.
Chris Elliott and his father.
Chris Elliott was here.
What a great guy he was.
Love having him on the show.
And Michael Nesmith from the Monkeys, the Monkeys.
But he has done so much for the brains behind MTV.
Alipad Parts.
Yes.
And he's the one that came up with MTV.
So we, and of course, the story goes
to his mother invented liquid paper.
Yes, that's true.
And Dallas.
So when are we going to get the announcement of this year's
recipients?
I'll believe this week.
OK.
All right.
And I'm one if you don't speak out to the universe, it doesn't
happen.
No, I have to go back to Atlanta.
Well, this is December 8th.
So there's a little bit more time to go back to Atlanta.
OK.
Well, you need to come back to Dallas.
Beautiful city.
I'm a big fan.
I don't think you know how hard this gal works.
You kidding me?
As long as we've known her.
That's the hardest woman in the show business right there.
OK.
Well, you can tell me what this is.
I want this young man to tell us.
Well, Kelly Kitchen does nothing but scramble.
I have just met her today.
That too.
But everything I hear about Kelly Kitchen
is how great she is, how hard she works,
how many places she's in, how many people she helps,
and never stops laughing like a bird, as you would put it.
Delightful.
That says it all.
There we go.
Oh, I can't.
I do pay attention, periodical.
I know you do.
Oh, we're going to let you guys go have some fun,
because I want to get chat over here for a minute,
because he's part of this show.
I understand, but we've got to do two.
But let's talk about, let's plug the movie.
Well, what I finished, well, do you have anything
you're doing next with the fans?
Different octaves.
Yes.
It depends on the situation.
Julie Andrews, break it with her.
Oh, that's funny.
I have a four octave laugh.
Oh, do it.
Well, I can't.
That's one short of Mariah Carey.
Oh, no.
No, Julie Andrews, remember, and Victor Victoria.
Woo!
Woo!
Anyway, do you have a festival coming up by chance?
No.
OK.
But people need to be on the lookout,
because you said it's going to be on TCM soon.
Well, time is.
Why it?
They haven't asked me.
I'd hold a hand.
All right.
I'm working on something to broadcast.
OK.
No.
OK.
I've just finished research on a book about Rock Hudson.
OK.
Does anybody remember him?
Absolutely.
Absolutely.
Young kids.
No work.
I even know about Rock Hudson.
And that's before my time.
How do you?
35.
As of Wednesday, Thursday.
This is coming, this is coming, this is coming.
This is coming.
Happy birthday.
He died in 1989 at the age of 59.
And now, he's only known for dying of AIDS.
To a certain demographic.
He was a big, star-loved, pillow-talk.
Love pillow-talk.
Watch pillow-talk, with pillow-talk.
I love giant, but watch pillow-talk.
If I'm not mistaken, isn't there a narrative that's
going, that's coming out next year,
about to base on the making of giant?
No, there is children of giant, which is amazing.
Have you seen it?
OK.
Anyway, it's amazing.
They talk about racism of Mexican Americans in Texas
and in America in the 50s.
And nobody else has talked about that, but George Stevens.
And the way he talks about the juxtaposition
of the two boys coming back from World War 2.
So many, oh, and Dennis Hopper.
Good for you, girl.
And how differently they are treated in the film,
because it was the way that they were treated in life.
And oh, my gosh.
I think it is amazing the way that they did talk to the children.
They used Mexican-American children who lived in Marfa
at the time, and pay them.
Marfa is a city in Texas for people that do not know.
You paid them 10?
You're going to screen this here?
No, it played several years ago.
But they paid those kids 10 cents.
I think it was 10 cents for tumbleweeds
so that when they're driving, they're in the train,
and they're going by, and Elizabeth Taylor
is first looking out on Texas going, oh, there's all these tumbleweeds.
Tumbleweeds have horrible thorns on them.
I lived in El Paso and had to move them.
And they're horrible.
And they paid these kids 10 cents to move them.
And they were like, yay!
I screened money in our way ever.
And I could be naked in that, I probably am.
I love this story.
Would you laugh?
I don't want to get wet!
Stop it.
So you've got the Rock Hudson book.
Well, you said you have two projects.
What's the other one?
OK, the other one is I'm writing a book on Robert Osborne,
who was our host on Turner Classic Movie.
Who you were very close with as we've talked about earlier.
So I was so close with him.
And he left me money and his will to finish the documentary.
So it's going to be, I think it's going to be called Osbo's
Girl Friday.
Oh, wow.
I like that.
My twin daughter.
Typical day in the studio and how we started TCM in 94.
So I don't know.
What else is up?
Come on, what else is up?
Well, if you'd like to get back on and talk to us.
How cool is doing?
Neither one of us are, neither one of us are, neither one
of us follow that team.
So we each have other teams we've root for.
So we're not worried about the Cowboys.
I'm a doll fan, and he is a Giants fan.
Absolutely.
My family's from Jersey.
And?
And?
I just pulled my plug out.
It doesn't matter.
Oh, I am not a fan of any sports, anything.
Any sports?
We, that's on Super Bowl Sunday.
You'll find me and Mark in the movie theater.
The only ones in the movie theater and we love it.
You're a man.
Alright.
We're going to let you guys enjoy the festival.
Thank you for stopping by.
Thank you guys.
Thank you.
We're going to let you enjoy the festival.
Thank you.
Thank you.
Thank you, thank you.
It's a pleasure.
It's a pleasure.
Be on the lookout for Scandal the Tribe of Mary Aster.
Wherever you can find it, make sure you to be on the lookout for it.
Thank you guys so much.
Thank you.
And if you see Barty, get some comfort and sit down.
Let me know.
See what?
Let me see Barty.
Oh, Barty.
Yes.
Yeah, get over here.
Okay.
Thank you so much.
Thank you so much.
Thank you for coming.
Oh, my God.
We enjoyed having you.
We can do the chair.
Oh, sorry.
Oh, these chairs at the Angelica, they're very well kept.
We are live at the Angelica Film Center.
You are listening to the Clubhouse podcast.
Tomorrow night we will be back live in the Vocal Studio, V-O-K-A-L now dot com is the
place you want to go to see us if you want to see us and make sure that you're subscribing
on your favorite podcast app.
Wait.
Let's listen to this.
Wow.
Thank you so much.
Chats here.
Good to have you here, sir.
Hey, guys.
Hey.
So you missed Don Don was here earlier, too.
Oh, really?
He and Faith went and saw a bad times at the All Royale.
Okay.
Today.
This is my other.
This is my normal co-host.
This is Chad.
His name's on the sign.
Why you moved in so quickly.
Yeah.
I kept getting.
Oh, no.
He was standing right over there.
Are you kidding me?
I wouldn't say I missed it.
Yeah.
You were standing right there.
So you were getting.
I think I dodged it.
I think I dodged it.
Oh, wow.
Come sit down.
We had you last year.
Come sit down.
Two years in a row.
Oh, yeah.
This is a return guest.
We're in your Black Panther T-shirt, sir.
Yeah.
I'm sweating like crazy.
It was a little human today.
I figured it would be too cold.
Hi, fellas.
Howdy.
Howdy.
Welcome back.
Glad to be here with you.
Glad to be here with Robin Chad.
Well, tell everybody who he is because most people
can't see right now.
I know.
Hi.
I'm Christy Putnam.
And I'm a publicist.
And I do social media for Turner Classic Film Festivals.
And I write.
And I teach.
And I go on.
Last year promoting a couple of books.
Promoting books last year where I was here.
Also promoted Alex Foreman's documentary.
Scandal the trial of Mary Astor.
And it sounds like it was well received.
It was well received.
Today we had lots of fun guests.
Dorothy Malone's daughter Mimi showed up.
And Joan Crawford's granddaughter came along with Mary Spath,
of Spath Communications.
And her one and only movie was The World of Henry Orient.
So what do you think you're promoting now?
Or just hanging out with us?
Right now I'm working on my biography of character actress
Delma Ritter.
Delma Ritter, Hollywood's favorite New Yorker,
to be published by the University Press of Mississippi.
You were just starting on that last time we talked about it.
I've been working.
I've been talking to people.
I've been calling.
Some call me back.
Some don't.
I travel all over the place trying to find people.
I'm digging that stuff up all the time, baby.
I remember you were talking about it last year
when you were here with us.
Yes.
Yes.
I've been doing a lot of serious research out in L.A.
talking to family members, getting photos, stories,
and actually one of the happiest days of my research.
I found something that made me believe I needed.
I had to.
I must write this book.
Because Delma Ritter was in a film called Lucy Galant,
with Jane Wyman and the wonderful Charlton Heston
right before he marched into the desert with those big sandals.
And so as I was doing research for her book,
I found where the governor of the state of Texas
made her an honorary Texan on my birthday, September 18th.
Which is his birthday.
No, that's a month before she said September.
September.
Okay.
I'm September.
I'm a worker.
I'm a worker.
Okay.
We're gonna go somewhere.
But she said it's, it's getting ready to be published.
It's, I'm still working.
It's probably 2019.
Okay.
Getting pictures, talking to people, a family,
Robert Wagner, the late tab hunter,
information from Leonard Molten,
and of course director Alexa Foreman,
lots of folks and family,
sharing information with me.
And earlier you were talking about the making of giants.
And I have a friend in Houston.
He is working on a history of the Shamrock Hotel.
Wow.
And that played prominently in the making of giant
and the firm or cave there and stayed there.
And she knew Glenn McCarthy.
And she wrote the book giant.
Of course, after she knew Glenn McCarthy.
And based the characters of Big Benedict
and the James Dean character,
JetRink, on facets of Glenn McCarthy's personality.
And so he's got a lot of stories about the opening
of the Shamrock Hotel where Howard Hughes flew everybody
into town for the opening.
You know, Moreno, Hera.
It's just everybody.
So you're, it sounds like you're about 19 different directions
all at one time.
I'm going in places that you've never even heard of before, baby.
Is there anything that you've had a chance to recently
from a film standpoint that you've gotten to sit down
and watch that you've been looking forward to?
Yes.
Actually, there,
Thelma Ritter was on a Fox television program
back in 1955 called the Lake Christopher Bean.
And what excited me about it?
I'd never seen it.
A good friend of mine now here in Dallas gave me a copy of it.
And actually the portrait that is used in that television production,
which was 1955 Fox Studios,
is now owned by her grandson.
Oh, wow.
Yeah, it's fabulous.
And so a lot of little things like that happen.
And running into other people doing research
and they give me ideas.
And I still ideas.
You borrow.
I borrow.
There we go.
We're the kids.
I sampled it.
Yeah, it's a team effort.
I synthesize information.
There you go.
Very, very nice.
Anything that you're looking forward to at the festival that you've been able to see?
Or here at the dot.
Oh my gosh, it's been absolutely fabulous.
The screenings they've had.
I love Mr. Soul.
I loved how Mr. Soul was put together.
By I believe it was his.
His niece.
And it was just fabulous films.
I love seeing.
Well, of course, scandal the trial of Mary Astor.
That was quite a.
A feat in itself because so many forces came together to.
To create that.
And I was happy to be a part of the publicist team.
It was exciting.
I did an interview with Director Alexa Foreman at Larry Edmond's bookshop.
The iconic bookshop in Hollywood Boulevard.
Nice.
And so that was standing in her mouth.
But we're talking about being able to screen that at TCM in the building where the original Oscars were held.
The Blossom Room.
That was the Hollywood Roosevelt.
That was awesome.
Did you know that if you ever watched celebrity ghost stories?
I have not.
But you know there is a place in the Blossom Room.
It's called the portal.
So that's where all kinds of spirits come and go.
And unbeknownst to me, that's where I always sit when I go in that room.
So I'm not telling what's going to happen.
I'm physically exhausted right now.
I'm just going to say it.
I'm actually a little reinvigorated hearing some of the stories that she has.
So it sounds fascinating.
Well, you know, I am a former Miss Texas runner up.
There you go.
Well, you can tell it.
I can tell it because I'm tall.
If you believe it.
If you believe it.
I believe it.
I believe it.
Perceptions reality.
That's right.
All right.
So if people want to get a hold of you.
Because I know we're kind of running short on time.
Yeah.
Oh, you mean on the phone.
Okay.
Social media emails.
Social media.
I'm Christy Putnam on Facebook.
And I'm Christy at Susu Applegate on Twitter.
Because I originally began writing about the Turner Classic Film Festival on the TCM website.
As Susu Applegate.
And also on the Silver Screen Oasis website.
So I had the Susu Applegate columns that describe events at the film festival actually since June of 2010.
So I was one of the first people to write about the festival all the way to now.
The Silver Screen Oasis website is also a place where we do guest author interviews.
We now have a Facebook page and we do our guest author interviews there.
We've had people like Kevin Brownlow and Lee Server.
And I'm all kinds of fabulous cinema writers that came talks.
Got Iman in his John Wayne book and you know all these kind of folks.
Okay.
Excellent.
Thank you for sitting down with us.
Sure.
And I'm happy to be with you, fellas.
And anytime we're here, you want to come by, come sit down with us.
I will.
Oh, sure.
Absolutely.
Name it.
All right.
Two years.
I love.
You are listening to the Clubhouse podcast.
We are at one of our favorite places in the world.
The Angelica Film Center and Mockingbird Station.
Doc Ufess as part of Video Fest 31, sir.
We were talking to Kelly earlier about the genesis of this thing.
Uh-huh.
What do we do?
Like five minutes on the cinematic goats?
I think you went a little longer than that.
I was telling her about that earlier.
And trying to describe that was a thing.
Tomorrow night we are going to get, I'm going to get done his Christmas presents.
See, that's how fried I am.
His birthday.
Because today is his birthday.
Right.
And you know, that's why he and he and his faith were going to dinner.
He actually told me what he had planned to wear.
They were going to what he put on ordering.
So he's good there.
I don't even know if we want to even get into headlines because we're running short on time.
So hopefully hoping to see Venom tonight.
I keep forgetting he's the only one between you and I Alex.
It hasn't seen it yet.
And Don saw it too.
Between us Alex and I.
Yeah.
A people on the show.
I was wrong.
Yeah.
Because Don was right there with me.
Yep.
And for some crazy reason, I pulled up that dead gum video on YouTube today.
The music video that.
Have you not heard the song that Eminem's releasing?
Eminem?
Yeah.
You know how I've watched the video.
I know that he does the video over the end or the song over the end.
Yeah.
And it works.
Does it not?
It does.
It works really well.
Yeah.
He looks bizarre enough to be assimilated.
I was impressed.
That's the first Eminem song I've really dug.
I've liked some of his stuff over the years.
Just not consistent basis, if you will.
Without me.
He's about the only one.
I can't really stomach, but I prefer the instrumental version over.
So it looks like we are going to do a full blown show tomorrow night.
It looks like it because I wrote all the entertainment stuff for tonight.
All the sports stuff for tomorrow.
And we're covered tonight.
Wow.
So I mean, we hit the ground running.
I figured this would cover the weekend.
No, I mean, I don't want to miss the vocal show.
Right.
Because I want to keep the vocal show moving.
Okay.
Okay.
I just normally when we do that, we just.
Right.
I was on the way over here that normally we would not do this Sunday show.
But, you know, we've only been to vocal suits for three weeks.
Right.
So I don't want to take a week off until we have to at this point.
Let's just make sure that they know that.
Oh, they know that.
We thought we talked last week that we are going to be there tomorrow night.
Okay.
Oh, I'm trying to kill a little bit of time seen if we can get bark,
but I don't know if we will or not.
I have not seen him recently.
He's probably in a screening right now.
No one knowing what he should be.
The only thing I actually do want to talk about,
because I forgot to put it on the run sheet for tonight,
was an announcement that was made today.
Oh, certain Netflix Netflix.
Netflix cancels iron fist.
But the theory is that Disney is going to move it to their streaming service.
Really?
That this is kind of Netflix trimming a little bit of the fat.
And then Disney will pick it up.
Have y'all watched either season because I watched the first season?
I remember I just finished Jessica Jones season one.
I'm at Daredevil season two that I haven't started.
I will say this for iron fist.
If you can remove part of your brain and think of it as a kung fu exploitative
and not expect anything good,
it can be enjoyed.
Here's Bart.
Bart, are you going to come sit down?
How long do you need?
We will wait three minutes, absolutely, for you, sir.
Okay, I come sit down.
I'm standing.
Because we can't do a show at DocuFest
and not have one of our favorite humans on the show.
Bart Weiss is here.
Nice to be considered human.
Hey, you're one of our favorite people.
You are the person that said,
you know, yeah, let's do this thing.
We're now in our sixth year with you.
Great.
Have a fun.
How are things going for you?
Great.
People are being inspired by the films they're seeing.
We've had so many of the screenings you can just,
the discussions afterwards are very profound
and I think it's really great.
I think between you and Kelly Kitchens,
you are the two busiest people in Joe Business.
Nobody's constantly on motion more than the two of you combined.
Have you checked out his picture in the media guide?
I have not.
You ready for this?
Yeah, bring it.
This is a genius.
Was this your idea?
No, no.
This was actually, okay.
Talk right into that thing.
Everybody can hear your part.
This is an image from...
Yes!
For those of you that's a t-shirt.
For those of you listening.
Yes it is.
It is a parody of the Alfred Hitchcock Presents
with Bart not only in silhouette,
but in split frame in front of it.
So who did this?
So this was done like a few years ago.
Get right into the microphone, Bart.
I'm sorry.
There you go.
Now you're good.
It was a few years ago.
When we were...
As part of the festival,
we had a program where we were sewing the lodger,
which was an early Hitchcock film.
I was there for that.
I loved it.
So that year,
somebody I think it was from D Magazine
was taking a photo from me.
So the people who were doing the design of the book
happened to find that and call the photographer
and got permission to use that.
This needs to be your promo shot for the rest of your life.
Or everything.
I don't know.
No, we need to get this on a driver's license as well.
This is going on everything.
Everything.
I want this as our logo from now.
So talk a little bit if you can about the restructuring
of the way Video Fest has been this year
and last year versus years prior.
So we used to do, say, 150 films in seven days,
six days, eight days, different each year.
And I decided that that was too much.
I was really annoyed at having three films
going on at the same time.
I couldn't do a Q&A for all of them.
And I like to do the Q&A.
And you're very good at it, sir.
So I feel if I'm bringing a filmmaker in,
I want to be there doing the Q&A
and I want to sort of have a control over.
And also when you're dealing with trying to promote
the festival and you go to the press and they say,
what are your favorite films?
And I like all of them.
And when you have 150 films,
it's really hard to sort of talk about all of them.
And with you're only having somewhere around 15 films,
I can do that.
And to me, it's harder because I'm turning down
a lot of films that I really like and would love to show.
But I think it's a better experience.
And I don't have to say to people,
which film should I see?
Come and see them all.
You can see them all.
And we asked Kelly and she thinks she knew when,
but I'm going to ask the question of you.
When are we going to get the announcement
of who's going to get the Ernie Covax?
When are we expecting that announcement?
Soon.
Okay.
I know who it is.
Oh, I hope you know who it is.
You're the director of this whole thing.
But I will tell you this,
it's the first time since we've been doing the Covax Award
that we're giving it to a woman.
Oh, okay.
That's, that's,
we've now cut the list in half.
So two and a half the female population.
Right.
Right.
So anyway, we're really proud of that.
And so that's going to be in December.
And then in February,
we have alternative fictions,
which is our mix of television, drama,
and other things that don't have been into documentary.
And then in the summer,
we're going to have the Medianale,
which is our festival of experimental work.
And we have the 24-hour video race in the spring.
And don't forget,
frame of mind on KERA Television,
on Thursday nights at 10 o'clock.
And if you don't know,
I have a podcast called The Fog of Truth.
Oh, I didn't know you had a podcast.
Oh, yeah.
This is new information.
Yes.
It's about documentary films.
And I have two partners,
some are Garber,
who's the one of documentary,
hit the documentary,
co-captain for slam dance.
Okay.
And Christopher Lueland-Reed,
who's the lead critic at Hammer-Tanel,
which is a really great site
about independent film.
It's called The Fog of Truth.
The Fog of Truth.
How long have you had it?
Since January.
Okay.
So I'm not too far behind the curve.
I was like,
Bart's got a podcast.
I didn't even know.
Yeah.
Now I know how all my friends feel.
It's...
No, they still tell you they don't remember after years.
Yeah.
What's the name of this thing?
Yeah.
Anyway, I gotta go in.
I gotta go in.
Bart, one of our favorite people in the entire world.
Thank you for having us and so much.
Thank you for everything.
Good for everything, sir.
Good to see you again.
Check out the pond.
Yes, please do.
The Fog of Truth.
Look it up, kids.
Thank you.
Thank you.
If it's anything like when we have Bart in the show
when we talk to Bart,
it's gonna know you need nothing short of fascinating.
Anything else that you want to talk to of any importance
about the show before we get to tomorrow nights?
No, you pretty much touched all the bases.
I have no idea what you said.
Texas was the only word I got out of it.
Yeah, I got that one.
You know what I would say?
Breaking Sports headline.
Georgia upsets LSU.
LSU upsets Georgia.
There you go.
Convincingly.
Yes, very much so.
My Gators barely pulled one out today
in the fourth quarter.
South Florida lost last night.
All right.
Anything else you want to cover before we do the plugs
and take it to the heezy as the kids like to say?
Let's do this.
Make sure you check out our website,
www.theclubhousepodcast.com.
Find out everything you need to know
and some stuff you don't.
Follow us on social media.
Twitter is at clubhouse show.
Everything else is the clubhouse podcast.
All three words in that order
or you will wind up somewhere else.
If you can follow me on social media,
if you would like,
everything is yes, that Rob Irvin
that has spelled E-R-V-I-N.
I am Matt Chad, N-P-G-6-9.
I am vexplit on all social media.
And remember you can catch our Sunday shows
on the VocalNow.com.
That's Vocal with a K.
Website or on the Vocal app.
The official fact checker of this show
is the birthday boy himself.
I am not going to try to spell out his new
handle because I can't
nor do you have the desire.
I don't think he can either.
I'm going to try it though.
IG-B-U-N-U-U.
I believe is what it is.
I can't.
I can't.
I'm still waiting for when he changes it to
and quencelocha.
I give up on all of you people.
You can also email Don for information
about how we can come to do for you.
What we've been doing tonight.
He is done at theclubhousepodcast.com.
You can email me, questions, comments, concerns,
so I'm going to go pound sand.
I am Rob at theclubhousepodcast.com.
I'm laughing too hard to give my email address.
I am Chad at theclubhousepodcast.com.
Thank you for that, Alex.
Charlotte Parker is on Pinterest.
I said her a great picture today.
Somebody put on Twitter that apparently Google
has these new headphones for 150 bucks
that can translate 40 different languages
and it said the Babblefish has arrived
and it's going to be lit.
Yeah, I did see that.
Okay.
I was like, I don't care who you are.
That's funny.
It's so wrong on so many levels, but that's funny.
We will be live again Sunday night,
seven Eastern four Pacific on the VocalNow network.
And check out our show there.
Also check out all the other great shows that Vocal has.
If you have anything that's interest to you,
there is a show on VocalNow.com
that will cater to those things that you enjoy.
So until next time,
for Alex, for all of our guests, for Chad and the Empire,
I'm Rob, clubhouse is closed.
I need a Brittany Palmer document.
I think I'm just going to direct it.