It's been a long while since we've had an episode of 3rd and Fairfax, the official podcast of the Writers Guild of America, so let's correct that.
The guest today is filmmaker Charles Shyer. Among his many credits, he co-wrote Private Benjamin, Smokey and the Bandit, House Calls and the remake of The Parent Trap, and co-wrote and directed Baby Boom, Father of the Bride, Irreconcilable Differences, and the remakes of the Father of the Bride films and Alfie. He talks about his career, as well as co-writing and directing Netflix’s holiday romantic drama The Noel Diary.
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I had no idea, but on the Fourth of July, Oscar-winning actress Eva Marie Saint celebrated her 100th birthday. That explains why Turner Classic Movies not only made her the "Featured Star of the Month" and on the Fourth ran several of his classic movies along with an hourlong interview that she did with then-host Robert Osborne back in 2014. According to math, that would have made her 90 at the time, though during the interview at one point she mentions being 88. (It’s possible that although this was broadcast in 2014, it might have taken place the year before, and though 88 at the time, she was about to turn 89, but hadn’t yet, still before it aired.) The interview is wonderful. She was bright, sharp, funny, honest, open and charming. And told wonderful stories, not just anecdotally, but also with thought intent. It was seriously impressive for (let’s say) 89. I thought it only proper to post the entire interview below. It’s very enjoyable. Some of the clips are gems, most notably from her early days doing live TV. There's a wonderful early-TV scene with her and Jack Lemmon, but I think the standout is a scene from the live TV production she did of The Trip to Bountiful, opposite -- Lilian Gish! She won her Oscar for her very first movie, On the Waterfront, which isn't shabby, working with a lot of her now-legendary Actors Studio compatriots, but for me, my standout favorite will always be North by Northwest. (From the reaction of the audience in attendance, every time it's mentioned, that seems to be their favorite, as well.) But the list of gems (and range of genres) is long -- from Exodus to Raintree County, Grand Prix, The Sandpiper and, from what she briefly says, a favorite of hers, The Russians are Coming The Russians are Coming. Not to mention that she kept doing theater. A slight digression. Hearing some of these stories in the show about Old Hollywood reminded me of a tale of my own that has a slight overlap that’s worth adding here. Maybe 30 years ago, a good friend of mine David Rintels – a former president of the Writer Guild who wrote some classic, award-winning mini-series like WWII: When Lions Roared (with Michael Caine, Bob Hoskins and John Lithgow), Andersonville and Nuremberg (that won an Emmy for Brian Cox), as well as the Broadway one-man play Clarence Darrow with Henry Fonda – had written a made-for-TV movie and invited a group of friends to a watch party. I was lucky enough to be invited, because David has some good friends. (A couple months back, I was discussing politics with David – who now lives on the East Coast – and he mentioned that he’d talked about the matter at hand with one of his recent house guest…Laurence Tribe. Because what he said Tribe told him contradicted my point, I gave David the win on that one.) I’m pretty shy at parties and tend to hang out at the buffet table, and then eventually make way with my plate to a sofa where I could eat. At one point, an elderly lady came over, asked if she could sit, and we had an enjoyable conversation. Actually, it was more like an interview, because she asked most of the question, interested in me and what I was doing. I got a few questions in, but she was very nice and really was simply more inquisitive. We were nearing the end of our conversation, perhaps five to 10 minutes, and as she was about to get up and leave, a thought hit me like a crescendo. “Oh, my God,” I thought to myself. “That’s Eva Marie Saint!!!!” And before I could say anything else, we’d said goodbye, and she wandered off. She was really extremely nice. And it was year later when I read something about her and how her reputation was that she was really extremely nice. I didn’t need the confirmation, but it was good to read. So, that’s my “slight overlap.” And yes, I was an idiot. Of course, she didn't look exactly like she did in North by Northwest 30 years earlier. And I've always had a low-level case of "face blindless," not great at remembering faces. But still. It was Eva Marie Saint on the sofa, four feet away. I was an idiot. My one saving grace is knowing how nice she was and asking questions about me that I'd like to think she was glad to have a nice, normal conversation and not have the person just gushing over her. Not that I tend to gush. But...well, that's my "saving grace" hope. Whether it has any bearing in reality, I don't know. But she didn't evince the slightest sense of being put off that I didn't recognize her. But then, in fairness, and happily, I did recognize her! Just...well, far, far too late. And here’s the TCM interview. You’ll see for yourself how really extremely nice she comes across. It’s not an acclaimed actress putting on a show. That’s her. Now, 100. Although for years the celebration moved around the calendar a bit more than in the past and was therefore somewhat difficult to track down (no pun intended), today -- we are full of joy to announce -- once again is that most grand fest, National Train Day. At least it is here at Elisberg Industries, and that's good enough as a starting point. You won't find it on any calendars for any number of reasons, but the most important is that since Amtrak funding got cut back they stopped promoting it after 2016. (And the reason for it moving around the calendar is that it was never a set day, but the Saturday closest to May 10. Why May 10, I hear you cry? Because that's the anniversary of the Golden Spike being driven in at Promontory Point, Utah, to complete the building of the Transcontinental Railroad.) But whether or not it remains an officially promoted holiday by the government -- and isn't being celebrated here on a proper Saturday due to prior commitments, think of it as the train running behind schedule -- National Train Day (or as it used to be known around these parts once upon a time as "Let's Make Chris Dunn's Head Explode Day," but no more since he now, at long last, acknowledges Bridge on the River Kwai as a train movie) is nonetheless still one of the most joyous holidays of the year. This is from a trip I took a few years back from Los Angeles to Chicago. Though the food on a train isn't high-end, there are few things I think are more ethereally enjoyable than eating in a dining car as the country sweeps past the windows of the train . For our part here, we celebrate National Train Day on these pages by posting a list of the greatest train movies. These are films in which trains are absolutely central to the story. Where a train is the driving force of the tale, without which you can’t properly describe the plot. (Think of it like the classic and beloved Santa Claus song, "Santa Claus is Coming to Town." Santa Claus isn't actually in the song at all. He hasn't even shown up yet. In most ways, it's about "you" and what you should do -- or better not do. But even though there's not a hint of Santa Claus even appearing in the song, without Santa Claus...there's no song.) We're strict about this. A friend once recommended The Taking of Pelham-1-2-3, and it was strongly considered, but that was a subway train or light rail. This list is for full-bore trains, the kind that either have sleeping cars and dining cars, or could if they were hitched on. But I've added it to our Honorable Mention list this year. Since the list is fluid, we keep adding to it. The most recent addition is Murder in the Private Car, made in 1934 and starring Charlie Ruggles, Mary Carlisle and Una Merkel. It's hardly a classic, but if you accept it as not intending to be anything more than a light-hearted murder mystery aboard a train, it's fun. Especially if you love train movies as a starting point. There are two other categories I've added recently: the just-mentioned Honorable Mention is for movies which you can generally tell their stories without using the word "train," but they have some connection to trains -- usually a great, standout train sequence, supportive to the story, but not essential in telling the plot -- that makes them memorable. And a few years ago I added a new category of Special Mention, for works that don't qualify as a train movie or perhaps even as a movie at all, but deserve a place of honor. But I didn't find any to expand the list with this year. And as I noted in the past, though something I think is likely very obvious, I love train movies. Here is the current list of Great Train Movies. 3:10 to Yuma Around the World in 80 Days Back to the Future 3 Bridge on the River Kwai Bullet Train The Commuter The Darjeeling Limited Emperor of the North The 5:17 to Paris The General The Girl on the Train The Great Locomotive Chase The Great Train Robbery The Lady Vanishes Murder in the Private Car Murder on the Orient Express (1974) The Narrow Margin North by Northwest Northwest Frontier Night Train to Munich Polar Express Runaway Train Shanghai Express Silver Streak Snowpiercer Source Code Strangers on a Train Tough Guys The Train Transsiberian Twentieth Century Union Pacific Union Station Unstoppable Von Ryan’s Express Honorable Mention Throw Momma from the Train Planes, Trains and Automobiles The Greatest Show on Earth Go West At the Circus Cat Ballou Trading Places Murder on the Orient Express (2017) Special Mention The Railrodder (short) The Taking of Pelham-1-2-3 (light-rail subway trains) Murder on the Orient Express (TV version, from the series Poirot) Great Railway Journeys of the World (TV documentary) Nothing Like It in the World by Stephen Ambrose (book) Empire Express: Building the First Transcontinental Railroad by David Haward Bain (book) I've also added another new feature in recent years -- a scene from one of the Great Train Movies, or another entry on the list. And this year we have the glorious sequence from Murder on the Orient Express -- the great version, directed by Sidney Lumet in 1974 -- when the train pulls out of the station. With near-perfect music by Richard Rodney Bennett. I wish the clip includes the full footage, about another 20 seconds with the train roaring across the countryside. But they chose to include only the material inside the station. Too bad, but understandable. Sidney Lumet writes about the complexity of this shot in his book, "Making Movies'. He said that they only had one take to do this. They could only use the Paris rail station for one night. It required an extensive set-up with the lighting and camera blocking timed perfectly. When they finally had everything ready, by then it was 4:30 in the morning, and sunrise was in a half-hour. So, it was get it in one take or not at all. That’s the actual Orient Express, by the way. The scene wasn’t filmed directly in the station, but the storage shed where the train was kept, not having been used in five years. During the preparation by the movie crew, a train crew was working to get the train in shape to run, specifically for this one shot. All the movie was shot on the real train, not sets. Train historians credit the movie with saving the Orient Express which eventually returned to service. Jerry Seinfeld directed and co-wrote an upcoming movie for Netflix, Unfrosted, very loosely (very) about how the Pop-Tart was developed. This is a pretty funny promotional film he made for the movie. My friend Rob Hedden, who I've occasionally mentioned here (often for his deep, abiding love of squirrels...) wrote and directed a movie called You May Not Kiss the Bride. The movie had a nice cast, starring Dave Annable and Katherine McPhee, with a supporting cast of Kathy Bates, Tia Carrere, Rob Schneider, Mena Suvari, Vinnie Jones and Stephen Tobolowsky. The story mostly takes place in Tahiti, and at one point in the film, Rob wanted to have a South Seas-type song to play. There was a piece of music they wanted, but couldn’t get the rights. They ended up getting an original song instead – and the story about how it came about is fascinating. I’d never heard the story, but it came up the other day when Rob was telling me about a family trip he’s about to take to Tahiti, and mentioned the song they got, called “Te Mama Tahiti.” It's a very good song, and it’s remarkable who wrote and recorded it (under a pseudonym), and how it came about. I don’t want to give it away, but here’s a link to the song. Listen to it (at least for a minute, so you can get a sense of it) before I tell you who did this for the movie, which I’ll explain below. Though you might want to listen to the whole thing. It's not that this was done for Rob's movie -- I honestly really like it, and I never would have guessed the artist who wrote and recorded it for them. Okay, the person who wrote this song, arranged it, sang the lead, sang all the background vocals and also played the music for my friend Rob Hedden to use in his movie was --- Rob Hedden! I knew that Rob wrote and sang music. He had a fun, goofy band for a while, Quayton and the Maxiwhackers. But when he sent me this song, I had no idea it was him. About half-way through, I did begin to suspect it might be him singing the lead – but I didn’t think he was all the background vocals (especially since at a few points it sounded like a woman singing, and wasn’t completely sure that he wrote it, or arranged it. The fun story to it is that after the production couldn’t get the rights to the song they wanted, Rob wrote, arranged and did this – but didn’t tell the producers it was all him. He just said that he had a friend who did this and would give it to them for free. (He said the producers really liked the song…but they especially loved that it was free!!) After the producers said that they liked it and agreed that it should be in the movie, only then did Rob tell them that it was all him. And he said that they didn’t believe him! He had to keep trying to convince them, until they did. By the way, the words are all gibberish. They’re real Tahitian words, but don’t mean anything. Which Rob (who is incredibly self-effacing) said is perfect for him. I honestly like the song, a lot. I’ve listened to it at least a dozen times. And I should append one thing I mention above – though it takes place in Tahiti, the movie was filmed in Hawaii. And if you want to see the trailer (it does a reasonable job), here’s the link – Okay, and just because we're honoring Rob today, what the heck, just for the pleasure of the good fellow, here's another squirrel video. Yesterday, O.J. Simpson died, and it was covered widely across the news. As I've mentioned here, I worked on the Naked Gun movies, in which he appeared, so I figured I should write something . Though I wasn't terribly anxious to. That's because they were among the most joyous work experiences I've ever had, and some of my fondest memories. (As I've noted previously, they even stuck me in couple of the films as butts of jokes.) And the trial and whole situation just sucked the joy out of that. It became so difficult to watch those movies for me, and even think about the work. Enough time has passed, so that the situation isn't as bad as all that any more -- but it's still achingly sad. And I'm not even remotely involved in what actually is sad about it, just tangentially from afar.
However, I did write about the subject a least somewhat here a decade ago when the mini-series The People vs. O.J. Simpson was on TV. I didn't have any interest in watching it, though did decide to add some thoughts. And I figured I could just repost much of what I wrote back then, with a few tweaks and minor additions, rather than go through it all again. As I wrote -- when the real court trial was on, and so many people in the country were mesmerized by it all, the public glued in front of the TV, and it was the Conversation Topic of the Day for months, I just didn't watch any of it either. Maybe a couple minutes total, but that's all. I didn't watch the "Dancing Ito" sketches on The Tonight Show with Jay Leno. There was absolutely nothing "fun" about it for me. It was just so profoundly sad on every conceivable level. In no way is my reaction meant as "O woe is me." Not even remotely. I'm a far-distant bystander. My point is merely how deep the tragedy went. And how much it impacted, beyond the attention-grabbing value, beyond what is so obvious and so gut-wrenching to those who it actually, literally pummeled . During the whole period, people would ask me, "You worked with O.J., do you think he did it?" I could only stare at them and say that I had no earthly idea. I got along fine with him, he wasn't someone I'd want to become friends with because he was involved in so many projects, always busy flying around, and somewhat distant, but, no, he didn't strike me as a mass mass murder. Did he do it? How on earth would I know? Beyond that, I really didn't talk about things connected to the trial. I, of course, crossed paths with O.J. a bit. It was part of the job, notably have to get information for the press kit I was writing. But I'm not sure he even knew my name. I think it was something like, "Hey, man." Not because it was me, I don't think he bothered to learn pretty much anyone's name, other than those at the top. We only had two extended conversations: one in his trailer, dealing with the press kit, and one sitting on the set, which oddly dealt with his family. At one point, he brought up how his wife seemed to want to get together, but that wasn't anything he was interested in. Whether his story was true, I have no idea. But that was the conversation. It hasn't aged well with time. The only thing I ever really commented about the trial was my observation whenever I'd hear people debating O.J. Simpson's innocence or guilt, and there would be people almost gleefully proclaiming his innocence, based purely on the reputation of the Los Angeles police department and its poor history with racial matters. To be clear, my reaction wasn't about these people's opinion -- I completely understood it, and the gross unfairness of the judicial system and well-publicized transgressions of the L.A. police -- but it was their near-mirth and utter certainty defending him and hope that O.J. got off. My thought at such moments was always a simple question: "Would you feel the same if the person killed was your sister?" One day, I mentioned this to a friend of mine. A few weeks later, he called to tell me he had been with a crowd of people, all of who were "rooting" for O.J., certain he had been railroaded and hoped he was acquitted. He said that he brought up my question -- and it stopped the conversation cold. Absolute, total silence. The mirthful certainty, the aggressive desire for acquittal completely disappeared. Again, to reiterate, I have no idea if he was innocent or guilty, though I have my opinion. It's just that one's thought on the subject should be based on the facts, whether believing him innocent or guilty. Having said all this, there was one personal thing that did ever so lightly touch me and was such a shame. It's that I'd become friendly over the two movies with O.J.'s assistant, an absolutely lovely, wonderful lady. She'd been with him for many years, and was totally devoted to him and her job. I only heard her name mentioned a few times in the news, but I'm sure if I paid closer attention I'd have heard it more. Though she of course wasn't directly involved in the tragedy, I knew that her life was devastated, and what she'd seen as a lifetime career was over, and it was heart-breaking to me. I did try to reach out to her at one point, letting a little time pass into the case. But I never reached her -- I left a phone message of support, but I'm sure she stopped answering her phone, and I wouldn't be surprised if she even stopped listening to her messages. I miss being in touch with her. Really nice lady. There was also one big laugh that did come from it all. I was working on another movie with much of the same team that make the Naked Gun films when the verdict came down. As you might imagine, the production stopped as the announcement neared. And when "innocent" was announced...well, I'll just say that when you're sitting around comedy writers who know the people involved really well, the phrase "gallows humor" was never more apt. Also, I have kept the one "keepsake" I have of the time. During those days, O.J. was involved in many businesses, one of which is that he was on the board of directors for the company that made Swiss Army watches. He had one, and I commented how great I thought it was. He reached into his gym bag (and no, I doubt it's that one, I'm certain he had many), and he grabbed a box with a new watch, which he gave me. For all the connections the case holds in my mind, I've held on to the Swiss Army watch. I like it too much. And still use it on occasion. And as that watch ticks away, time passes. (Thus endeth the poetic portion of this article...) And I watch the movies, and enjoy them. And I enjoy thinking about the work and talking about it. But the films, while wonderfully funny, still aren't as innocently funny to me as once, and the memories still can't help have a shading. But happily, so many of those memories are great. So, while I did go on length here about the experience, I leave more detailed analysis of the crime and trial to others. Me, I'll stick with the movies. |
AuthorRobert J. Elisberg is a political commentator, screenwriter, novelist, tech writer and also some other things that I just tend to keep forgetting. Feedspot Badge of Honor
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