- 17 hours ago
Here Is The Opening and Closing Previews To It's A Mad Mad Mad Mad World(Tape 2),And Here Are The Orders:
Opening:
1.Inter'acte to the Film
2.First Several Minutes of The Second Half of Film
Closing:
3.Final Few Seconds of Film
4.Exit Music to The Film
5."Something A Little Less Serious:A Tribute to It's A Mad Mad Mad Mad World" Documentary
6.1982 MGM/UA Home Video Logo
7.MGM/UA Copyright Screen
That's All.
Opening:
1.Inter'acte to the Film
2.First Several Minutes of The Second Half of Film
Closing:
3.Final Few Seconds of Film
4.Exit Music to The Film
5."Something A Little Less Serious:A Tribute to It's A Mad Mad Mad Mad World" Documentary
6.1982 MGM/UA Home Video Logo
7.MGM/UA Copyright Screen
That's All.
Category
😹
FunTranscript
00:00Let's go.
08:00It's been called the all-time comedy classic.
08:04Boasting an all-star cast of the biggest names in comedy,
08:08It's a Mad, Mad, Mad, Mad World was the first successful big-budget comedy ever made.
08:14Join us now as we celebrate Mad, Mad, Mad, Mad, Mad, Mad, Mad, Mad, Mad, Mad, Mad, Mad, Mad, Mad, Mad, Mad World,
08:44did a miracle, did a miracle, did a miracle, did a miracle, did a miracle, did a miracle, did a miraculous job, did a miraculous job, so when they handed out the scripts to all the actors to study, they handed two of them to each one, and I said,
09:14I said,
09:44okay, when they $10,000,000 for the каб, $100,000.
09:46So when you think we went, I said, oh, yeah, that's all the clue.
09:48So it was a therapy, no, we'll see what you did.
09:49well, you know, what you didn't mean here to do with us in.
09:50We spent behind the music 302, there, the female Visit, and a GOOD actor, and the girl.
09:51a good script too, and a great script. So as far as ad-libbing and jumping around and
09:57doing a little shtick here and there, it wasn't necessary. It was all there. Stanley knew
10:03what he was reading. He knew that was a wonderful background for a great movie. I tried to use
10:11people who were well-known, who were immediately recognizable, who were famous for a piece
10:17of business or whatever, and tried to integrate it into it without stopping the film.
10:22After the picture had started, it became the in thing. If you weren't in this picture,
10:26you just weren't in comedy. And different people would plead with it and they'd say,
10:30I'll take any part. Stanley would say, well, we got so-and-so today, but Jack Benny, I
10:36know, was one that just pleaded to be in the picture.
10:38It was in the papers every day of the week. And every comedian in the world was being called
10:43upon to either be in the play as major performers or do small parts in it. And if we weren't
10:50called, we were very saddened by this because we thought we weren't wanted.
10:54Even after 25 years, I'll go into a place where Rickles was playing in Vegas, and he gets word
11:01from the head waiter all the time who's in the audience. And he warned him to spot me if I
11:07ever come in. I've been in three or four times to see him, and he'll be introduced. And before
11:14he goes into the act, he'll come to the apron of the stage and get hit with a spotlight and say,
11:19Stanley, how in the hell is it you used every comedian in the business in that picture except
11:24me? What's wrong with me? What, am I Jewish or something?
11:27What else did you do, Mr. Farmer?
11:29What else did you do, Mr. Farmer?
11:30What else did you do, Mr. Farmer?
11:34What else did you do, Mr. Farmer?
11:36What else did you do, Mr. Farmer?
11:38Let him know the terror of the world.
11:40Stanley Kramer established himself as one of the great dramatic film directors.
11:44His films examined social issues, and much of Kramer's work was controversial and shocking.
11:50Now, the background level of comedy was the last thing anyone expected in a Stanley Kramer production.
11:55We were all doomed, Janela.
11:57I was known as the man with the message, the serious filmmaker, and I thought, I'll make
12:02a comedy and show them. And that's really the birth of it. The birth of it is something
12:09as tawdry as that. The fact that I wanted to show everybody I could do a comedy.
12:15People who have never done comedy and decide to do comedy usually fall on their behinds.
12:20Stanley Kramer, because he was a filmmaker and appreciated comedians and understood what
12:24I understood how to let them live and breathe in a movie was very successful because of it.
12:31I said, Stanley, you know, you've done a lot of very serious pictures with very fine actors.
12:37Have you ever worked with comics before? And he said, oh, no, but what have you done?
12:43And I said, well, you've got to understand that they're just a little different, just a little bit different.
12:48I think the fact that he'd never done a comedy was good because he let us have a little bit the same in what we wanted to do.
12:54But he knew about what he wanted in the story. And he knew how he wanted to shoot the picture.
12:58He had already drawn the picture out in cartoons.
13:02He had tremendous respect for the talents that were in that picture.
13:06It was very usual, not at all unusual for him to say, now, how do you feel you'd like to play this?
13:13Or what do you think would be best for you to do in this scene?
13:17Therefore, it was a collaborative effort.
13:19We had a meeting, and it had to be on a Saturday. We were making time and a half, and there had to be 18, 20 guys.
13:25And we get into part of the action. I see it one way, and Stanley sees it another.
13:31So there's a pretty good little argument. No, I can't win it, because he's the man.
13:37I said, Stanley, I'm only trying to do the job you hired me to do.
13:41He makes an announcement to the group. You know, I've never directed a comedy before.
13:46And I raised my own voice and said, Stanley, you don't have to tell them that.
13:50It's a wonder you didn't fire me right there.
13:53I remember the first day on the set for rehearsals.
13:57It was a staring contest.
14:00They're staring at the message man, and I'm staring at all these comedians thinking,
14:05what are they going to pull? What's going to happen?
14:07Comics have, historically, a habit of stealing from one another.
14:12And I'm not talking about stealing a joke or a line.
14:15Comedy is a dangerous mission.
14:18Comedy is something which, in timing and perspective, is totally different from just performance.
14:24And to see all these guys struggle with their timing and work on getting a little piece of material which can snap like that,
14:33is a wondrous thing to see.
14:35Real pros. Everybody was a pro. There were no primadonnas.
14:39We all got along.
14:41When you talk about Paul Scott films, Mad World heads the list.
14:45Stanley Kramer assembled a legendary cast.
14:48Edited by Spencer Tracy, it included almost every big name in stage and screen comedy.
14:53When you talk about a man like Sid Caesar after all, you're talking about an institution.
15:03Well, I think we should thank the good Lord for sending Sid Caesar to Earth.
15:08Just when Sid Caesar was born, there was a star in the East.
15:16Me.
15:18Sid is one of the most creative actors I've ever worked with.
15:22He works when you go down the street and then take a left turn fast.
15:27And that's the true nature of comedy.
15:29And you just never know what to expect from him.
15:32You have to watch what he's doing every second.
15:34These guys had tremendous respect for Sid Caesar.
15:38And they really stepped back and gave him room.
15:41His facial expressions, his dramatic expressions.
15:47He wrote the book on that.
15:50Maybe he was playing some kind of a trick on everybody.
15:52Did you think about that?
15:53He might have been a practical joker.
15:55Oh, yeah.
15:56She's a very talented lady.
15:58She's a good comedian.
16:00And she has talent way beyond that.
16:03So I was delighted to have her.
16:05She was very helpful all the way through.
16:07Special lady.
16:08Special lady.
16:09She was going through a very rough time at that time.
16:12Ernie had just passed away.
16:14Her husband.
16:15Ernie Colax.
16:17And she was going through a very rough time.
16:20And, er, I gave her all the credit in the world.
16:24Edie was doing the scene.
16:26And they had a close-up of Edie.
16:28Speaking to Sid Caesar.
16:30And the camera came in.
16:31And Stanley made a close-up and looked through the lens.
16:34And he said, Edie, what color are your eyes?
16:38She said, they're blue.
16:43She said, oh, I see.
16:46Well, as I look in the lens, one of your eyes is blue and the other is green.
16:54What happened?
16:56She had lenses.
16:58So she put one green one in and one blue one in.
17:04She said, now you've got to make up your mind.
17:06What color your eyes have got to be?
17:08Mickey!
17:09Mickey!
17:10We're up here!
17:11Can you hear us?
17:12Help!
17:13Help!
17:14Mickey!
17:15Mickey!
17:16Mickey!
17:17Mickey!
17:18He had absolutely flawless timing.
17:19And he was doing very difficult stuff.
17:20Finally, he was frightened in an airplane.
17:21He was going to crash.
17:22Needs a lot of maintenance of effort and a good sense of timing.
17:25And he had it.
17:27Mickey could do anything.
17:28He could change the mood.
17:29He could eject unbelievable talent.
17:33And also very brave.
17:35There was one point when we had to go up a ladder.
17:37And if Mickey hadn't gone up the right out of the thing, I would have gone up.
17:41Mickey Rooney was the first genius.
17:44The first all-around greatest single one performer in every particular field.
17:50Mickey could do it all.
17:52Write, produce, direct, perform, dance, play, drum, sing.
17:56Mickey was always on and he would do the funniest thing.
17:59He would sit on a step and he would pull his sweater down and then he would put just the feet going.
18:05I think, who's the comic that does Dorff the same way?
18:08And no matter what he did with that sweater pull down, he would dance and kick and carry on and do whole numbers with this little guy.
18:16He was very funny.
18:18He was, this man's been in show business for 400 years.
18:20He knows every trick and whatever that there is.
18:23Well, Mickey is really a genius.
18:26So he won't trouble with Mickey.
18:28He's impetuous.
18:31He wants everything done right away.
18:33Like I told you earlier that it took him about seven months to make the picture.
18:38He said, oh, Christ, I can do this picture in two weeks.
18:42Right?
18:43With a proviso that everybody knows his lines, but he knows his lines very well.
18:50All the time.
18:51He's got a remarkable photographic mind.
18:56And he knows what he's doing.
18:59He can direct, he can do everything.
19:01And he can also marry beautiful women.
19:13I think that Marmon was a wonderful actress.
19:17Really, really not recognized for the deep talent.
19:22Here she was in this walter of comics of all kinds.
19:29Guys who did impressions, facial expressions, pratfalls, everything.
19:35Every kind you think of.
19:36Slick, onstage conversationalist.
19:39Everybody.
19:40Yet, she held her on every foot of the way.
19:43And that's something, that's something of the trivia.
19:45Wonderful woman to work with.
19:47Really wonderful.
19:48I mean, she would come out there, do a thing and do it.
19:50Right?
19:51I'm faithful.
19:52And really great to her.
19:53One day we got.
19:54One day we got.
19:55And she would be really good on the money all the time.
19:57That was a role that was made for her to yell and scream.
20:00And you know, the mother-in-law of Melton Burrow.
20:03And it was perfect for her.
20:04I mean, when she slapped people to purchase them, she had a handbag.
20:08And she hit me over the head with the handbag.
20:11Boom.
20:13And I went, ow!
20:17Gee, how are you just?
20:20How, how?
20:22How.
20:23How, how the bump this big?
20:26And somebody, we got in that box, she's nothing.
20:28But they opened it up, she had all her old, the costumes you were looking into and,
20:34and she had swatting them with that.
20:36I had that bump for six months on my head.
20:41Every time she met me after that, she says,
20:44How is the bump?
20:47And I said, Go to hell.
20:53Jonathan Winters regaled the entire cast.
20:56He entertained everybody in an air-conditioned truck
21:00to which all the actors repaired between shots.
21:04Never appeared himself once in four months.
21:07And entertained everybody.
21:08Jonathan Winters, when we were in,
21:10we always had our trailer, our dressing room trailer,
21:13no matter where we were.
21:14And Jonathan Winters would just keep you in stitches
21:17from early morning.
21:18He would say, 30-year-old lady,
21:21Wow, a man!
21:22And he delighted that character.
21:23No matter what you would say,
21:25and somebody would throw in something,
21:27he would ad-lib a whole day.
21:28This man absolutely is the most brilliant.
21:32He's just like in another world, in another area.
21:35I went into a high, a natural high,
21:40and I don't think I came back down for a number of years.
21:44I was out past the space shuttle,
21:46and every astronaut that ever went up there,
21:49I was way past the moon.
21:51He's literally endless in his comedy invention.
21:55Part of my job, and part of Arnold's job,
21:58was that we'd keep Jonathan in the trailer,
22:04which was air-conditioned,
22:06because otherwise he went bananas in the heat,
22:09and it was 107 degrees.
22:11And the way we kept him in the trailer
22:14was we'd play games with Johnny,
22:16and one of the games was,
22:17Who are you today, Jonathan?
22:19He says, Today I'm the Tuesday Bear.
22:21And so we had to be other bears,
22:23or people watching him in a cage,
22:26or his trainer, or someone feeding him,
22:29or whatever,
22:30not just for five or ten minutes,
22:32but for a half hour.
22:33One time he was the son of the Indian chief,
22:36who loved the white man,
22:37and the bead work, and the whole...
22:39He was brilliant.
22:40Mickey Rooney came over
22:41and whispered into Jonathan's ear,
22:46We went to the top of dawn, Lieutenant.
22:50And of course, Jonathan went back
22:51into a World War I character,
22:54and forget the serious conversation,
22:57because I discovered
22:58that's all you have to do to Jonathan,
22:59is just feed him a line in his ear
23:01at any time,
23:03and he'll go right into it,
23:05and maybe do 10 minutes or 12 minutes on it.
23:07Johnny Richard is a one-er.
23:10There aren't any other Johnny Winters around.
23:14Because he's odd,
23:15and all the comedians accept him as that.
23:18I was just like a kid.
23:19I'm still a kid in many ways,
23:20although I'm 65 years of age,
23:22and I don't mind being a kid
23:23when people say,
23:25You act childlike.
23:27Yeah, don't bother me.
23:29I'll tell you why.
23:30I'm not only childlike,
23:31but I have good teeth.
23:33These are my own,
23:33and I'll bite you.
23:35I'll hurt you.
23:36Why, if I had enough money,
23:40I might even be able
23:41to live in a convent or something.
23:44In a convent?
23:45Uh-huh.
23:46Johnny Paul Byron
23:47was a very, very sweet,
23:50I haven't seen her in a long time,
23:52very sweet,
23:54very attractive,
23:55and very fine actress.
23:57Uh, she was the actress,
23:58the alginate, you know,
24:00and she was, uh,
24:01she did her well,
24:02she did her very good.
24:03She was a nice girl,
24:04lovely girl,
24:05and good actress too.
24:06Not much good
24:07without that horrible
24:08mother-in-law of yours,
24:09are you?
24:09Ha, ha, ha, ha, ha, ha.
24:11Oh, oh, oh, oh, oh, oh, oh.
24:13Terry Thomas was an actor,
24:15basically,
24:16because his humor, again,
24:18came out of
24:19sniffles and reactions
24:21and whatever,
24:22and, uh, when he,
24:25at the beginning,
24:25in his first scene,
24:27he falls out of the car door,
24:29which is a press wall.
24:30Terry Thomas, um,
24:32I remember,
24:33showed up in the
24:34Palm Springs Hotel.
24:35We were waiting for him,
24:36because we'd all
24:37been shooting around him,
24:38but he came from England.
24:40We were all wondering
24:41what he was going to be like.
24:43He showed up
24:44in a Mexican hat,
24:45and I swear,
24:46was, like,
24:47six feet across.
24:49The hat kept
24:50covering him
24:50clear down here,
24:51and he came
24:53all the way over,
24:53and I think he had
24:54all the clothes on.
24:55He said,
24:55oh, how are you?
24:57Jolly good,
24:57and went straight in the pool.
24:58The hat's the clothes.
24:59I mean,
24:59he was just
25:00way out there.
25:02We were Palm Springs.
25:03Of course,
25:03everything's all finished,
25:04and I knew who he is,
25:05you know,
25:06but the gap in his teeth.
25:08So, we had an outfit,
25:10and I'm going to dub him,
25:11and I went to make up
25:12and had him black out
25:13my teeth out here,
25:15and I'm over
25:16and Stanley's talking
25:17to the witchcraft.
25:20So, uh,
25:20I've got to be rude
25:22to pull him around.
25:24Is this all right,
25:25Mr. Kramer?
25:26He jerks away,
25:27and he goes back
25:27talking to Terry,
25:30and I said,
25:30Mr. Kramer,
25:31I'm a busy man.
25:32Is this all right?
25:33And I'm kicking
25:34my lip down.
25:35But the third time
25:36I did that,
25:37he said,
25:37what's bugging you?
25:38I said,
25:38why won't this go okay?
25:40He said,
25:41it's mine.
25:41I said,
25:42okay.
25:44Terry looked
25:45daggers at me,
25:46and then we became
25:47real good friends,
25:48you know,
25:48because I pulled
25:48the other guy going.
25:49So now,
25:50there's only one way
25:52to figure it,
25:53and that is
25:53every man,
25:55including the old man,
25:57for himself.
25:58Bunny Hackett
25:58was a man
25:59who really,
26:01truly had lived
26:02on the scene
26:03of the airplane.
26:04It was a lot of hits,
26:05and it was just good there,
26:08but Bunny did
26:09a great job with it.
26:09Bunny Hackett
26:10was our,
26:11how can I say,
26:12he was our instigator.
26:13He said,
26:14why don't we go
26:15after the show,
26:16why don't we all go
26:17and do,
26:18Bunny always had
26:19these plans,
26:20and they weren't always,
26:21he was always
26:21putting us on,
26:22but one day,
26:23120 degrees shooting
26:24in Palm Springs,
26:26and we can't go anywhere,
26:28we have to wait
26:28until the day
26:29shooting is over,
26:29and all day long
26:30he kept saying,
26:31oh,
26:31I can't believe it.
26:32In my hotel suite,
26:34there was a bathtub
26:35full of ice,
26:37and in the ice
26:37there's beer,
26:39and there's,
26:39there's soft drinks,
26:40and there's all
26:41kinds of things,
26:42and then I'm having
26:43a tray of cold,
26:45ice cold shrimp,
26:46and they're also
26:46on a tray.
26:47And he would carry
26:48on all day long
26:49about all these
26:50great mirages
26:51of what was going
26:52to happen
26:52when we got back
26:53there,
26:53because he knew
26:54when he'd get back
26:55there nothing
26:55was going to happen.
26:56So we all
26:57trek up to his room,
26:58and he opens the door,
26:59and he's ready
26:59to say sorry,
27:01and the PR people
27:02had gotten their head
27:03and put everything
27:04in that room
27:04that he'd been
27:05talking about
27:05all day long.
27:06Everybody was supposed
27:07to get to pay
27:08the same salary
27:08or something similar,
27:10and then Stanley
27:10was talking
27:11with a phone,
27:11and I wanted
27:12$150,000
27:13for the picture.
27:15And he said to me,
27:16well,
27:17why am I having
27:17a problem with you?
27:18I can't give you
27:19$150,000.
27:20Why did you
27:20want $150,000?
27:22I said,
27:23I like those numbers.
27:25He said,
27:25okay,
27:25what about $105,000?
27:28And he had me,
27:29I said,
27:29okay.
27:31So in the rest
27:32of my life,
27:32I always know
27:33that he owed me
27:33$45,000.
27:35I don't think
27:36I'm going to get
27:36it anymore.
27:41Phil's an actor,
27:42great comedy actor.
27:45He was seldom on
27:47in real life.
27:49Phil was a natural,
27:51as they say.
27:52He didn't have
27:53to extend himself
27:54to be a highbinder,
27:55to play the highbinder,
27:56to be a guy who
27:57always had a plan,
27:59always something
28:00in addition
28:00to what he was
28:01saying and doing.
28:02He knew
28:03every minute
28:04what he was doing.
28:06He was a straight man.
28:08He was a comedian.
28:10He was a comic
28:11if he wanted to be.
28:13He could be
28:13low and high.
28:15One thing about Silvis,
28:18and that's
28:19the way he
28:20he did his performance.
28:25He did it with
28:26honesty,
28:27reality,
28:28credibility,
28:29and that's why
28:30he was great.
28:31Sometimes,
28:32off the scene,
28:33they would do
28:34tricks on each other.
28:35See,
28:35we were never
28:36allowed to see
28:36dailies.
28:37Stanley said,
28:37absolutely no.
28:38And not one of us
28:39was allowed
28:39to have a telephone
28:40because that would
28:41mean he'd have
28:41to have 85 telephones
28:43in the dressing rooms.
28:44So,
28:45Phil was,
28:47let's say,
28:48we were sitting
28:49around in the dressing
28:50room.
28:50It's a truck
28:51that we have
28:51used as a dressing room.
28:53He'd say,
28:54things are a little
28:54quiet.
28:55He'd say,
28:56you want to see
28:57Milton call his agent?
28:58Everybody said,
28:59yeah.
29:00Okay,
29:01how long?
29:0115 minutes?
29:02Okay,
29:03his agent's
29:04going to be
29:04here in 15 minutes.
29:05We all said,
29:06yeah.
29:06How are you going
29:07to do that?
29:07And he put that
29:07as he always did
29:08down on this thing.
29:10So,
29:11he seated himself
29:12with his back
29:13to Milton
29:13with another chair
29:15right back here
29:16and he starts
29:16to talk to us
29:17very loudly
29:17saying,
29:18yeah,
29:19I was at the
29:20dailies last night
29:21and you know what,
29:21Edie,
29:21you didn't really
29:22look so good.
29:23I told Stanley,
29:23he ought to put you
29:24a little,
29:25and he started
29:25to talk about
29:26that he had been
29:27at the dailies.
29:29And Milton
29:29turns around.
29:30We can see him
29:30turning around.
29:31He said,
29:31is he turning
29:32around yet?
29:32Is he gone?
29:33He said,
29:33he's not gotten
29:34to the phone yet.
29:36He said,
29:36and I've got a lot
29:39of phone.
29:39I've got a phone
29:40in New York.
29:41I've got to get
29:41to my dressing room.
29:44He said,
29:44is he gone?
29:45I said,
29:45yeah,
29:45he's gone.
29:46And in 15 minutes,
29:47Milton's agent
29:47was on the set.
29:48He said,
29:49I did it.
29:49Dick John was in the bodybuilding
30:04long before everybody's
30:06now the big thing,
30:07but in 1962,
30:08it was kind of unusual
30:09to have somebody
30:10that would jog
30:11every day
30:11and work out
30:12and do shadowboxing
30:13and do all this stuff.
30:15And he was
30:16in terrific shape.
30:17Dick John and I
30:18had a scene
30:18at the end
30:19under the big W,
30:20which is out there
30:22in Portuguese bend.
30:23Stanley decided
30:24that he and Jonathan
30:26Winters would have
30:26the pickaxe
30:27and they'd be down
30:28there digging
30:28with all of us
30:29looking around
30:29at them digging.
30:31And all of a sudden,
30:32Dick John yells,
30:33cut.
30:34What is this cut out?
30:35And Stanley said,
30:36what's he having?
30:36What's the matter?
30:37He came in with a cut
30:38and said,
30:39I'm not staying
30:40in the hole
30:41with Jonathan Winters
30:43and a pickaxe.
30:44So Stanley said,
30:45okay,
30:46Jonathan came out
30:47and then Dick John
30:48really went to it
30:50with that pickaxe.
30:51Did you see
30:52the bond I broke?
30:53Running off
30:53for the penguin
30:54advertisement.
30:55Now what's that
30:55all about?
30:57Yeah!
30:58Yeah,
30:58what about
30:58the pension shovels?
31:00Fault planned
31:02every little move
31:03and coffee plant
31:04I mean,
31:04if you look at
31:05his performance,
31:06it's a gem.
31:06Everything he does
31:07is that way.
31:08And, uh,
31:09he did dig
31:10and I really bring it.
31:12He is
31:12Peter Falk
31:14playing Peter Falk
31:15which is completely,
31:18uh,
31:20different than anybody else.
31:22He had different voice,
31:23different style.
31:25Yeah,
31:25I know Peter.
31:26A very wonderful man
31:28and a very fine actor
31:29and deserving
31:29of all the money
31:31that he's made.
31:32Now,
31:32Stanley Cole
31:33Eddie Anderson,
31:35Rock Center,
31:36you do whatever
31:37Falk does
31:39because they're both
31:40playing two cab drivers.
31:42Well,
31:42Eddie didn't.
31:44He could do it
31:45even when
31:46Falk would go up
31:47in the corner
31:47and he would stop
31:48and start to go,
31:49the man,
31:51the man didn't,
31:52what does the man,
31:54the man don't,
31:55them,
31:56and Eddie would be
31:57there next to everything.
31:59The man,
31:59the man,
32:00say,
32:00yeah,
32:01the man,
32:01too.
32:02And Mickey and me,
32:04Mickey would say,
32:05come on,
32:05come on.
32:06And we'd sneak,
32:06I'd be looking at them,
32:07this is down where
32:08the big doggy was.
32:09We'd be looking
32:10through the weeds
32:12and watch it
32:13and Mickey would keep
32:15your head quick
32:15because they were
32:16going to laugh
32:17and then
32:18watch it
32:19that didn't hear so good.
32:20He made up a word,
32:23Bozay.
32:25So he said,
32:26the morning,
32:26he said,
32:27Bozay,
32:27Bozay.
32:28So when
32:29Falk is going,
32:30the man told me
32:32and he'd be mumbling
32:33and Eddie would be saying,
32:34Bozay,
32:35Bozay.
32:36One day,
32:39Falk,
32:40stop Mickey
32:40and said,
32:41what's Bozay?
32:42And that was
32:42the end of it.
32:43He would roll down
32:44the hill.
32:49Milton Burrell's a teacher.
32:51He taught us all
32:52what to do.
32:54And though we all
32:55had our own style
32:56and our own ways,
32:57if you didn't watch Burrell,
32:59you weren't a total professional.
33:01I'm going to be 83.
33:04I feel like a,
33:05I feel like a 20-year-old.
33:09But unfortunately,
33:10he's never won around.
33:12You know,
33:12no matter how many people
33:13are in the scene,
33:14anywhere from 2 to 12
33:16of all the Canadians,
33:18when they had to exit,
33:20Burrell always managed
33:21to exit last.
33:23They'd all go off
33:25and he'd start off with them
33:26and then turn back
33:27and say,
33:28yeah,
33:29and then go.
33:30Come on,
33:30let's go,
33:30come on,
33:30come on.
33:31Oh,
33:31oh,
33:31oh,
33:32okay.
33:33You know,
33:33it's that last couple,
33:34two seconds.
33:35He'd be on the court,
33:36you know.
33:37But they just,
33:38he just had to be that way.
33:41His mother trained him
33:42to be that way
33:42when he was in
33:43those children's shows
33:44when he was a young man.
33:46I mean,
33:46he spent his whole life
33:47on stage.
33:48We were all
33:49in a taxi cab.
33:50It seemed like 15 of us.
33:52We were like
33:52in a little circus car
33:53and we stopped
33:54and he told us
33:56which ones to get out
33:57first and whatever
33:58and every time
33:59he'd do this scene,
34:00Milton would be
34:01the last one
34:01in the shot.
34:03He'd be there
34:03doing something.
34:04So finally,
34:05he gave Milton
34:06a number.
34:07I think he was
34:07number seven
34:08out of 15
34:09and we all got out
34:10and we all peeled off
34:11and ran off
34:12and number seven left
34:13and he said,
34:14okay,
34:14cut,
34:15that's a print.
34:15And the next day
34:17he came in
34:18he said,
34:18I don't understand
34:19and he came in
34:19and said,
34:20I don't know
34:20how he did it.
34:21I saw him get off
34:22and leave
34:23but when I watched
34:24the dailies,
34:25there he was,
34:26the last one
34:26he acted.
34:28It's Milton.
34:29It's always the last one
34:30that gets out of the shot
34:31that maybe
34:33where the shot
34:34is through
34:35supposedly
34:36getting in the cab
34:38I might do something
34:40of a shtick
34:41or something
34:42that is not
34:43in the script.
34:45but it's funny
34:48and they keep it in.
34:50So I usually make up
34:51my business
34:51to be the last one
34:52out of the shot.
34:53Listen to your mother,
34:54sweetie.
34:55Ellie Sue?
34:56Ellie Sue,
34:57listen to your mother!
34:59Tracy was an actor
35:01who also had a sense
35:02of comedy.
35:03That's because
35:03of his natural sense
35:04of timing.
35:06The long pause,
35:07for example.
35:08Everybody could go
35:08on babbling
35:09for three minutes
35:10and he'd just look
35:10at him and finally say,
35:12yeah.
35:13And that was funnier
35:14than the gag itself.
35:15He went for late
35:16two or three hours
35:17of first day's work
35:18and then we all
35:20broke for lunch
35:20and we were sitting
35:21around having lunch
35:21and Tracy said,
35:25well,
35:25when are we going
35:25to get started?
35:26When are we going
35:26to get started?
35:27And the first
35:27service said,
35:28Spence!
35:29I guess he knew
35:29and he said,
35:30Spence!
35:31The boy wins
35:32for your good while
35:33and none of them
35:34need the money
35:36so they figured
35:37you can wait a little.
35:39He said,
35:39well,
35:39what the hell
35:39is going on?
35:40What do you mean?
35:41They figured
35:42what do you mean?
35:44Take it easy,
35:45Spence.
35:46We'll get there.
35:47They worked with us
35:48and from that moment
35:50on,
35:51even if he didn't
35:52have a call,
35:52he came to the set.
35:54He just loved
35:56watching the guys.
35:57He had a wonderful
35:58time doing the picture.
35:59I had a lot of trouble
36:00because every time
36:01I would try to talk
36:02to him,
36:03he would start to laugh.
36:04For some reason,
36:04he thought I was
36:05amusing or something
36:06so he'd come in
36:07and I'd say,
36:07good morning
36:08and he'd start
36:08to laugh.
36:10I'd try to say,
36:11I was going to talk
36:12about something
36:12that was in the paper
36:13and he'd say,
36:13well,
36:13yes,
36:14right,
36:14Arnold.
36:15And he just thought
36:16everything I said
36:17was very funny.
36:18He was a great
36:18experience in my life
36:20in four successive films.
36:23Inherit the Wind,
36:24Judgment of Nuremberg,
36:25Mad World,
36:26and Guesses Coming to Dinner.
36:29He left an impression
36:30upon me
36:31which I never
36:32have shed.
36:34I wish he was
36:35my father
36:35and everybody
36:36that knew him
36:37would have to say
36:40the same thing.
36:41He was really helpful
36:42to people.
36:43He liked people.
36:45And this young fellow
36:46said to me,
36:47Mr. Tracy,
36:47I'm only an extra
36:48on this picture.
36:50I want to ask you
36:52a question,
36:53if I may.
36:55How can I be
36:56a great actor?
36:58I'm just starting
36:59to say,
36:59how can I be
37:00a great actor
37:00like you?
37:04Tracy smiled
37:05with his head
37:06down
37:06and looked up
37:07with his eyes
37:07and said,
37:09you man,
37:13acting
37:14is the easiest
37:17thing in the world.
37:19Just don't get
37:20caught doing it.
37:23That's all he said.
37:26Which is one of
37:27the great lines
37:28involved in.
37:28Stanley Kramer,
37:33when we first
37:34signed the deal,
37:35said they wanted
37:37to meet all of us
37:37for lunch
37:38in the commissary.
37:40And all of us,
37:41I guess there were
37:4215 to 17 of us
37:43sitting around
37:44this big circular table.
37:46And we were,
37:47you know,
37:47nobody knew anybody
37:48very well.
37:48We were all kind
37:49of quiet
37:50and then he took
37:52us in
37:52to see the
37:54pre-production
37:54on the cars
37:55that they had
37:56done in Palm Springs.
37:58Yeah,
37:58we were set to
37:59reach pre-production
38:00of our own
38:01all-stone.
38:10Now,
38:11he takes
38:11the old cats
38:12down to see
38:14this deal.
38:15One would go
38:16and the other
38:16would stop and go
38:18when they did
38:18the cars
38:19were doing takes.
38:20The most magnificent
38:21footage I'd ever
38:23seen of.
38:24It was
38:24entrancing
38:25and capturing
38:26and I said
38:30to someone,
38:30I don't know
38:30what they need
38:31us for.
38:32Buddy Hackett
38:33says to him
38:33when it's over,
38:34Stanley,
38:35you mean you're
38:36going to spoil
38:37this beautiful
38:37thing that I was
38:38trying to put
38:39dialogue in there?
38:40I thought
38:40my premiere
38:42was a success.
38:43I hope
38:43you don't flop.
38:44The first
38:47sequence filmed
38:48with a regular
38:49cast was
38:50The Hardware
38:50Store,
38:51shot on the
38:51sound stages
38:52of Universal
38:53Studios
38:53and featuring
38:54the comedy
38:55pairing of
38:55Sid Caesar
38:56and EDFs.
38:59The Hardware
38:59tools were
39:00disappearing
39:00and we did
39:01everybody
39:01with grips
39:02and this
39:02and everybody
39:03so we had
39:06a big stop
39:06back at the end
39:07of the day.
39:07I had eight
39:08suits,
39:09eight suits
39:09made exactly
39:10or different
39:11stages of
39:12the paint.
39:13and one
39:16day I wore
39:17this jacket
39:17one I wore
39:18that suit
39:19because the
39:19paints were
39:20all different
39:20and there
39:21was another
39:21thing with
39:21a torch
39:22that went
39:24around
39:24and we
39:26did this
39:26take,
39:27would you
39:28believe,
39:28take 85?
39:31I mean,
39:31it didn't
39:32turn right.
39:33There was no
39:34way of making
39:34it stop
39:35the turning
39:35because it
39:36didn't want
39:36it to bounce.
39:37You wanted
39:37to just
39:37turn and be
39:38like that
39:38so it
39:39would stop
39:39the fire.
39:41Sid Caesar
39:41got this
39:42hammer
39:42and he
39:43was trying
39:43to knock
39:43the switch
39:44out the
39:44wall.
39:45And he
39:45swung,
39:46there he
39:46swung,
39:47and he
39:47swung,
39:48and he
39:48said,
39:48look,
39:48don't do
39:49anything,
39:49you just
39:49stand there.
39:51And Stanley
39:51would crack
39:52up and say,
39:53I told him,
39:53I said,
39:53son,
39:54if you can't
39:54contain yourself,
39:55you'll have
39:56to leave
39:56this there.
39:58I found out
39:59a door a couple
39:59of times,
40:00they really
40:01crossed it,
40:02and every time
40:02I had it,
40:03it was a 16-pound
40:03sledge,
40:04and I had it
40:05about three or
40:05four times,
40:06and it was
40:06moved,
40:06but now,
40:07let me
40:07had a conflict
40:08between the
40:09groups and
40:09myself.
40:10After about
40:11three or four
40:11times,
40:12they put up
40:12steel,
40:14they put up
40:14a brick,
40:15you know,
40:15these high-end
40:16guys,
40:16these crumb
40:17crissons,
40:18and that I
40:18couldn't get
40:19through.
40:21Eight vacationers
40:22meet roadside in
40:23Palm Springs to
40:24decide how they
40:24will divide the
40:25loot buried by
40:26the smiler.
40:27Though seemingly
40:27simple,
40:28this scene proved
40:29the most difficult
40:30for the cast.
40:31giving you
40:32$112,000.
40:34We were
40:34shooting on a
40:35Saturday,
40:35it was a golden
40:36time,
40:37and we worked
40:38so very hard
40:39to do a scene,
40:40it was an
40:40unbelievable,
40:41we worked and
40:42worked,
40:43and it just
40:44didn't come out
40:45right,
40:46and everyone
40:46knew it,
40:47and every time
40:48you're inactive,
40:49it's my fault,
40:51I always worked
40:51with a dog,
40:52and the director
40:53said to cut,
40:54the dog would
40:55look to see
40:56it was his
40:57fault.
40:58And you start
40:58seeing that
40:59because of the
40:59movie,
41:00and you start
41:00looking at
41:01a genitive
41:02comedy,
41:02those kind
41:03of artists,
41:04and those
41:05kind of comics
41:06no longer
41:06exist,
41:08the closest
41:08thing to
41:09which I can
41:10win is
41:10Robin Williams,
41:12I suppose,
41:13it's all a
41:13bunch of
41:14accidents tied
41:15together.
41:16I've said
41:16to many people
41:17and they say,
41:17you've only done
41:18a handful of
41:19films,
41:20that's true,
41:21but to have
41:24done it's a
41:25mad,
41:25mad,
41:25mad,
41:25mad world,
41:26if I never
41:28did anything
41:29else.
41:31That was
41:31the biggest
41:31problem in
41:32my life.
41:34Somebody
41:34always said,
41:35well,
41:35why four
41:36mads?
41:37And I
41:37always think
41:38to myself,
41:39I should
41:39have made
41:40it five.
41:42Because it's
41:43a mad,
41:43mad,
41:44mad,
41:44mad,
41:45mad world.
41:47What it
41:47would like
41:48to be on
41:48that picture,
41:50it's a
41:50comedian's
41:51dream.
41:52There isn't
41:52any formula
41:53you're going
41:53to be able
41:54to set down
41:54out of this.
41:56That isn't
41:56what it is
41:58and what
41:58it's about.
41:59It's a
41:59unique object
42:01to be judged
42:02on how much
42:03you enjoy
42:04this.
42:05That will
42:05be seen
42:07forever
42:08because it's
42:10one of the
42:10great motion
42:11pictures ever
42:12made.
42:13All due
42:14besides the
42:16performers,
42:17all due
42:18to the
42:19production,
42:20reducing,
42:20and
42:23the
42:23direction
42:23of
42:25Stanley
42:25Hurray.
42:50Hurray.
43:20Hurray.
43:50Hurray.
44:20Hurray.
44:50Hurray.
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