Transcript
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Hello, I'm film historian Tony Maietta.
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And I'm Brad Shreve, who's just a guy who likes movies.
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We discuss movies and television from Hollywood's golden age.
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We go behind the scenes and share our opinions too.
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And, of course, being the average guy, my opinions are the ones that matter.
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As does your self-delusion.
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Welcome to Going Hollywood.
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Hi, this is Brad and for just a moment I'm without a co-host because Tony, being the good man that he is and I will deny ever saying that he is somewhere in the middle of Central California participating in AIDS Life Cycle, which is, for those who don't know, a seven-day charity bike event from San Francisco to Los Angeles.
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Tony and I met in July of 2023 when I interviewed him for my other podcast, queer we Are.
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We discussed a number of Hollywood topics but, being Tony, we ended up spending much of the time, and maybe even most of the time of the episode focused on Lucille Ball.
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Needless to say, we had a lot of fun, being that we both enjoyed our conversation.
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We've discussed running as an episode here and, with Tony going off on AIDS lifecycle, we decided this is the perfect time.
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Tony and I will be back next week for a brand new episode of Going Hollywood, but for now, I hope you enjoy this special presentation of the Way we Met on Queer we Are.
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Tony Maietta, you are an author, actor and a host, and, as a host, am I correct that they have been nearly entirely shows about TV and movie history?
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Yeah, pretty much.
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I mean, I don't really talk on politics, it's all pretty much TV and film.
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Yes, some theater, a little bit of theater I am an actor after all, so but yeah, mostly TV and film.
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And you don't have film historian on your headline, on your website or in your bios.
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But that seems like a big part of you.
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Well it is, but I go back and forth about that.
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What is a film historian?
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I always think of some guy in some musty library somewhere looking over some old film book, and the first time someone mentioned that to me I was like what?
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That's not me.
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I'm a guy who loves movies, so that's all.
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But since I was an actor, I learned how to play a film historian.
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So I, you know, it is something that I wear, it's a mantle that I'm very proud to wear, but I just don't.
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To me it just sounds a little too academic.
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For for what?
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What I love about what I do and what I try to do when I talk about movies and when I talk about TV is pretend like I'm having a cup of coffee with you or another kind of libation, if you're you know, a glass of wine or something, and we're talking about this movie we just saw, or, we're you know, we're talking about this TV show we just saw.
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I try to make it that casual, so that's always my goal, for anything is like two buddies sitting around talking about this movie they just saw Kevin Brownlee, who's an incredible, incredible source of knowledge, who's just one of my idols and I've had the fortune to meet once or twice he's a film historian People who I never studied film, I didn't go to NYU film school.
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I'm an actor, you know.
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I studied theater.
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I just always loved movies and I'm kind of like Robert Osborne in that way if I may be so bold as to make that comparison in the fact that this was something he did his whole life, you know, and it was just a hobby of his.
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He would go to, he had these index cards he would keep.
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He told me one time that he would keep of films he had seen or films he was researching, and he had these boxes.
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I would go to the library at my home in Meadville, Pennsylvania, where I grew up in my hometown, and go through the microfiche, remember those things when you'd go through.
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You'd like pick a newspaper, like I put the New York Times up and I go to July 1964.
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So I could see what was playing in the theaters, what was playing on Broadway.
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That's what I did, or I would get every book I could and that for me that was just fun, it wasn't a scholarly endeavor, it was just what I loved.
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So that's kind of the approach I take as far as film goes.
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If I'm a historian, okay, whatever, so be it.
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I think of myself as a film buff.
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I don't know if you have to have training to be a film historian.
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I will just say this.
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I hate to put a moniker on somebody else, but based on the work that you've done and just our casual conversation before we had this started, I'm going to call you a film historian.
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Okay, you can do that.
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You got that label and you're stuck with it now.
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Now your bio says Tony Maieti arrived in Los Angeles in the 1990s as a fresh-faced 20-something eager to discover the classic Hollywood that he fell in love with as a child.
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We know tons of people that come out here to reach their dreams.
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What was your goal?
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What was your dream when you came to LA?
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Oh God, to be a movie star, absolutely, Actually, to be a TV star.
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I love the movies, obviously Duh, we're sitting here talking about them.
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But I always saw myself as more of a sitcom person.
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In fact I remember saying to my friend Brad, as we were driving, his name's not Brad, brad.
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I remember saying to this friend of mine as we were driving out here you know, I'll have a sitcom in a year, yeah, maybe an Emmy in a couple.
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I mean, it's just so silly, but you have to have that kind of insane ambition, otherwise why bother leaving your hometown?
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That kind of insane ambition, otherwise why bother leaving your hometown?
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But I came out specifically with the desire to be an actor, loving film, but absolutely wanting to be an actor, but also wanting to be an actor in an era which was sadly gone.
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I remember I always say that I wanted to go to the Brown Derby and see William Holden, like Lucy did, or meet Rock Hudson, you know, at the Beverly Palms Hotel, like Lucy did.
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None of that happened.
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It was a sad time in Hollywood when I first came out here.
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It was not a good time, like the early 90s, not a good time.
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You got here, I think, right about the time I did, maybe a little bit earlier, and the Brown Derby was still still around, but it wasn't a thing it was, but wow, is it on its last legs and the one on wilshire was gone.
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Yeah, yeah, the one in hollywood and vine was was still there, but the one on wilshire, which is the one that lucy went to allegedly, was long gone, as you know.
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What was still there too was, uh, the ambassador hotel, which, god, I wish I had had the awareness then I knew what the Ambassador was, but I didn't really know Coconut Grove and Bobby Kennedy and all that.
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I mean, I knew it but I didn't click until it was gone.
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And listen if you're not familiar with the Ambassador Hotel.
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There's a whole lot of history there and unfortunately the LA Unified School District leveled it and I don't know if they have offices there or a school there, but it's gone.
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It's a school, there's a school there.
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I mean it's gone, it's gone.
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As you just alluded to your bio, does go on to say that you were disappointed, and you realized that the only way to get that magic would be travel back in time and to become a film historian.
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So, you set out to live in the past.
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Can you elaborate a little more on that?
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What's your sure?
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What's your disappointment was and what?
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What wasn't there when you arrived?
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I wanted that golden era.
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I wanted to see Hepburn and Tracy in woman of the year, and I got Burt Reynolds and Liza Minnelli and rent a cop these awful early 90s movies.
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That there was just no glamour, there was no mystique, and that's what I wanted, and I think that's what most people, anybody who watches classic movie channels or rents DVDs we want that glamour.
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We want that wonderful, the whole mystery of it, the whole mystique of it, which sadly left us sometime in the 1970s, when the new Turks came over in the 70s and made incredible films like the Godfather, and when that whole new era came in with Bonnie and Clyde and New Hollywood, as you will.
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There was a certain amount of mystique that went out with the studio system.
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Now I'm not saying that that's necessarily.
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It's an illusion.
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The studio system was gone for a lot of good reasons, but there was also a certain mystique and a certain glamour that went with it and people like me, and maybe you, Brad, who grew up watching these films, just wanted to be a part of that era.
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It's nowhere to be found anymore and it's really nowhere to be found now.
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I mean, the good thing about the films of the seventies is at least they were films about people and relationships, and now it's all you know, superheroes and computer animated stuff and I'm like, who cares?
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That's one.
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One great thing about television now is that you find those stories on television on television that you don't find in the movies anymore, or very rarely find in the movies.
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Yeah, I'm a big Paul Rudd fan, and so therefore, of the Marvel movies, I love Ant-Man, but I don't know if you saw Quantumania.
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I didn't see any of them.
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I'm terrible.
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The entire film had to have been done in a green screen.
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I'm sure it was entirely CGI, except for their faces, and I was impressed by wow, this must have been difficult to do, but it actually.
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It was depressing to me.
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Well it is.
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I can't imagine being an actor doing that.
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I just I can't imagine that Film acting is difficult enough when you have another person in front of you and you're trying to do all the technical things you have to do when you're acting on film, but to act with nothing, I just, I don't know.
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It doesn't interest me.
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I'm impressed, anybody can do it.
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I am too.
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I'm stunned by it.
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I'm stunned by it.
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I can't believe it.
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I would be pretty bored as an actor.
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Somebody covered up in green, or you know.
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Yeah, well, they do these movies and then they, so they make enough money so they can go do what they love.
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That's the whole story behind it.
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I mean, Paul Rudd's a great actor, very talented actor, very funny actor and ageless, which is kind of crazy.
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I think he's hysterical, he's charming, he's sexy as hell.
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I have a huge crush on him, but I don't know his agent.
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He needs to fire his agent because he really does make some bad movies.
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Yes, well, you know him and Jason Bateman.
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So there you go.
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I love Jason Bateman too, but I love Jason Bateman on television.
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I mean, he's incredible on Ozark, he's incredible in Arrested Development, but I can't remember the last time I went to the movies to see anything he did.
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He was pretty good in the Sweetest Thing, but I don't think many people saw the Sweetest Thing.
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No, and that was a while ago too, wasn't it?
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That was quite a while ago.
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Yeah, tony, I'm stopping our conversation real quick.
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Why?
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Why we're in the middle of a podcast.
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But this is about the podcast and it's very important.
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Okay.
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Listener.
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Whatever app you're listening on, whether it's on the computer or on the phone, reach your finger or your mouse over.
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It usually says follow.
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Some still say subscribe and click that.
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And what's going to happen when they do that, Tony?
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They're going to get notified when a new episode is available, and they can listen to us again.
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You know I don't want to miss that.
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No.
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Can we get back to the episode that we were recording?
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Of course, please.
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Of course, all right, thank you.
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Don't forget to subscribe and follow there you go.
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As far as you mentioned Katherine Hepburn, you said you think she was still alive.
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She actually died right around the early 2000s and I only know this because I was going to the gay and lesbian.
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It used to be called the Gay and Lesbian Center, I think it's now the LGBTQ Center.
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Yeah, the LGBTQ and
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Oh, yes, you do actually.
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So I was walking down Hollywood Boulevard to get there and I knew that she had died, which upset me because she was one of my favorites and I saw this massive pile of flowers and I thought, oh, who died now?
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And it was right on her star.
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So I cried a little bit.
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So that's the only reason why I specifically remember when she died.
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I remember exactly where I was.
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You do I was when she died.
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You do I was one of those people.
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Oh yeah, I'm always with that.
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Oh yeah, I remember sitting in my friend's driveway and I got a phone call.
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Before texts, I got a phone call that said Hepburn died and I was just like wow, that's big, that's major.
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It was a big moment.
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And talk about old days of Hollywood.
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I've joked a lot with many guests on this show about Hollywood Boulevard and because every friend or family member that has come out to LA always wants to go to Hollywood Boulevard and they're always so broken hearted it's depressing.
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Depressing, isn't it?
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Yeah, so depressing.
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I live two blocks from it, so, yeah, I'm there every day because my gym is right there and it's the most depressing walk I can tell you right now.
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Yeah, yeah, it is very depressing.
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Yeah, I used to live near there and recently went back.
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I live up in the desert now, some couple hours outside of LA, and recently went and my husband and I stayed in a hotel down there and walked around my old haunts and it was weird in the sense that it was depressing, and some things had not changed at all.
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I mean, when you think about Hollywood Boulevard, especially back in the quote unquote golden era, the Hollywood Hotel, right where Hollywood and Highland is, was this place called Hollywood Hotel, and this was mostly in the 20s and this is where many of the silent screen stars of the time this was in Hollywood was a very insular place.
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That's where they socialized, that's where some of them lived, I mean right at Hollywood and Highland, you know, and they would have parties there and they would have dances there.
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It's a really fascinating idea All along Hollywood Boulevard, orange groves and pepper trees, and boy, you see none of that now well, that's back when they were actually studios in hollywood.
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I mean now I think, yeah, there's Gower, which used to be Desilu.
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I think that's still there.
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Jim Henson's like our, yeah, yeah uh, the Jim Henson studio is still there which was Charlie Chaplin yeah, the old Charlie Chaplin, and then there's one more.
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I think that's kind of small, and the rest are all out in the Valley.
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Yeah Well, yeah Well, warner Brothers was always in the Valley, but there's one that's called.
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It used to be Renmar.
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Right now it's called something else.
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I can't think of what it's called, but it was Desilu Cahuenga and it's right down there on Cahuenga near Melrose, and Sunset Gower is still there, and you're right.
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And what's the other one?
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Oh, Hollywood, it's called The Lot now, or it was called the Lot, but that was a bunch of different studios.
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It was originally, originally, way, way back.
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It was the Fairbanks Pickford studio.
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It's right on Santa Monica and Formosa.
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It was where Pickford and Fairbanks made all of their films in the twenties together, and then it became the Samuel Goldwyn Studios and then it became Warner Brothers and now it's the Lot.
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So, I mean, it's still there.
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But you're right, the majority of the studios in Hollywood are not in Hollywood.
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It's always funny, I think we say Hollywood but everything's you know out of Hollywood.
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You know they're in Burbank, Studio City, Culver City, yeah, yeah, exactly, and listen, I'm going to go off on a tangent, please forgive me.
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I heard some really depressing news the other day and it has me so upset.
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The Warner Ranch is being torn down and they're going to put in sound stages which means the Bewitched House, the Partridge Family House, the pretty much name all those old sitcoms that were actually filmed outside the Friends.
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Fountain is there.
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The Friends Fountain is at the Warner, is it?
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How would they do that?
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They're tearing it all down.
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There's a YouTube video where a guy is given a tour.
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He's driving around.
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It pretty much looks like a ghost town.
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Right now, he's driving around because he says it's going to be the last time he'll be able to see it.
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Oh my.
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Because my dream has always been to go.
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You have to get tickets to go tour the ranch.
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It's not as popular as Universal Studios, but for me, I always wanted to see the Bewitched House.
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Yeah, you know it's funny, you have to.
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Yeah, you're absolutely right, you have to be invited.
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Um, I've been on a couple times.
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I don't know why I was invited, or I had an audition or something, and I remember walking down mockingbird lane and mockingbird Morning Glory Circle, whatever, whatever street that Samantha and Darren lived and seeing the house and you know it's always a depressing experience to see these sets because, first of all, it's old, so it's been weathered and and time has done what it does to it, but it's just so much smaller than you imagine and it's just not.
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It's never.
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It is what is in your head.
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Yeah it's like what I say about going back in time in my head, because hollywood never existed anymore.
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Let's Hollywood it, really did.
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Yeah, exist in the way we think of it in our mind.
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I think the thing that surprises me about the whole Warner Ranch thing is the very first Lethal Weapon movie.
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There's a scene where police were raiding the house and the house blows up and pretty much kills half the cast.
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That was actually the old Kravitz house, which I think was also.
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I think that was also the Partridge family house.
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Yeah, they reused those a lot.
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I think it was on Dream of Jeannie too.
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Yeah, the Nelson's house was a little bit different, but maybe, yeah.
00:16:52.769 --> 00:16:57.961
But anyway they blew it up for that scene and people were outraged that they had the nerve to blow up that house.
00:16:57.961 --> 00:17:03.671
That's terrible, the fact that there was so much blowback from that, and now they're just tearing it all down.
00:17:03.671 --> 00:17:08.500
I'm like, anyway, anyway, enough of the depressing stuff let's get out of here.
00:17:08.500 --> 00:17:10.083
That's not what this show is about.
00:17:10.083 --> 00:17:12.426
You just hit me in the heart there.
00:17:12.686 --> 00:17:12.866
Yeah.
00:17:13.208 --> 00:17:18.394
You have 65 videos on YouTube and I think most of those were from when you were on
00:17:21.242 --> 00:17:21.242
Yeah, I counted them for a reason.
00:17:21.242 --> 00:17:23.565
Most of those I think were from when you were on here TV.
00:17:23.565 --> 00:17:24.105
Is that right?
00:17:24.787 --> 00:17:27.609
Oh, there's only no, there's only four that were from here TV.
00:17:27.609 --> 00:17:28.691
I think there's only four or five.
00:17:28.691 --> 00:17:30.192
The majority of them are.
00:17:30.192 --> 00:17:39.262
I mean, my Lucy Show stuff is up there because nobody buys DVDs anymore, so it's like you know who can see these anymore.
00:17:39.262 --> 00:17:40.907
A majority of those are actually documentaries that I'm working on.
00:17:40.907 --> 00:17:44.557
Currently I work with a wonderful French production company called Wichita.
00:17:44.557 --> 00:17:51.292
Ironically enough, wichita Films and we do they do a lot of the stuff that I post up there.
00:17:51.292 --> 00:17:56.088
They're two incredible French producers who we did the Barrymore stuff together.
00:17:56.088 --> 00:18:01.998
The Jack Lemmon stuff, the William Holden stuff where we talked about network, most of my stuff up there.
00:18:01.998 --> 00:18:03.557
The gossip the Hollywood gossip stuff is a lot.
00:18:03.557 --> 00:18:04.732
That's a lot of it, and some of my other stuff stuff up there.
00:18:04.732 --> 00:18:06.967
The gossip the Hollywood gossip stuff that's a lot of it, and some of my other stuff here and there.
00:18:06.967 --> 00:18:10.130
Some of the stuff I did with TCM is up there too, until they take it down.
00:18:11.342 --> 00:18:13.308
I have a very close Facebook friend.
00:18:13.308 --> 00:18:14.884
We have to clarify those now.
00:18:14.884 --> 00:18:16.148
He's a great friend.
00:18:16.148 --> 00:18:17.807
I may never see him in my life.
00:18:17.807 --> 00:18:22.760
He has a huge old school movie buff and TV buff and I sent him the link to your.