Stay Hungry: Production Notes Pt. 1

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Tape Deck Media. Hi folks, Aaron here with yet another
quick note before we get into it, So just a
heads up that we actually ended up recording this episode
in what seemed like pretty much forty seven different parts,
mostly because I kept finding more information about the film. Now,
we normally wouldn't mention when we do that, but it's
a bit more noticeable this time around, especially about a

(00:24):
throw of the way through the episode, when all of
a sudden Erica joins us after Joe just kind of
seemingly vanishes under mysterious circumstances, possibly involving the Springfield Mystery spot.
Oh yeah, and I also random will begin pronouncing the
director's name correctly around that same time too, but that's
probably not as noteworthy as the whole person swap thing.
But yeah, So anyway, that's all I got, So let's

(00:46):
get going and hope you enjoy the episode. See the.

Speaker 2 (00:56):
Welcome back to another episode of See You at the Body, Richta.
I am one of your host Joseph beck Castro. Joining
me as always is Aaron Frescus Aldy and Christopher Chapman.

Speaker 3 (01:08):
How do doody?

Speaker 2 (01:11):
Yes, Hello do you two? Today we're gonna be covering
Arnold's nineteen seventy six weightlifting drama vehicle Stay Hungry. Before
we get into the movie summary and everything, we can
do what we usually do and go over some production
and trivia and other tidbits that Aaron has for us.

(01:31):
So without further ado, take it away.

Speaker 3 (01:35):
Eric gotta love Aeron's tidbits.

Speaker 2 (01:39):
Big old titties. That's short for tidbits.

Speaker 1 (01:43):
Yep, yeah, they're they're very uh anyway, Okay, where Okay,
So I want to start already, huh already, I may
just bigger.

Speaker 2 (02:02):
Rub it a little bit.

Speaker 3 (02:05):
Stupid, so stupid.

Speaker 2 (02:11):
Please keep.

Speaker 1 (02:14):
I was talking about the screen on screen.

Speaker 2 (02:21):
I just want to give her audi it's a peak
behind the kimono.

Speaker 1 (02:25):
But that's that's weird. That's how I do the episodes anyway.
So yeah, I want to kick things off with a
quick rundown of basic facts about the film, mostly because
I think it's probably one of the rare Schwarzenegger movies
that not a lot of people have heard of, much
less seen. Like you you guys said you didn't watch it, right.

Speaker 3 (02:47):
No I haven't. I haven't watched it yet. And this
is like maybe one of two movies on the list
that I just had never heard of. It was like
this in the Villain that I just had.

Speaker 2 (02:58):
Yeah, me too in some later stuff.

Speaker 3 (03:01):
You know, stop, don't do that.

Speaker 1 (03:03):
Hey, what did I just say?

Speaker 3 (03:06):
I can't tell if you're talking to the dog or
the mic to the microphone.

Speaker 2 (03:10):
Are your wiener?

Speaker 1 (03:18):
Oh man? Okay? Sorry? So yeah, you guys didn't watch it?

Speaker 3 (03:23):
Cool?

Speaker 1 (03:24):
Right? Correct? All right, it's cool. So anyway, Stay Hungry,
which I described to you guys in the pre watch
intro as a nineteen seventy eight comedy drama, is actually
a nineteen seventy six film directed by Bob Raffleson.

Speaker 3 (03:37):
Got it.

Speaker 1 (03:38):
Yes, So this is now the second episode in a
row that have had to make corrections at the top
of the episode, which is just awesome, like like annoying
as hell, because it's usually some dumb little air that
I always end up feeling like a dufous forward like
not catching later, Like seriously, I have no idea how
I might mix those years up, but I even made
sure to double check before I recorded it that I

(03:59):
had the correct year, but then still somehow wrote down
the wrong year, like because when I heard it, I
was like, what the fuck? Anyway, just a dumb, careless mistake.
But it's also super frustrating because at the same time,
our next episode is a movie summary, which sucks because
of course we're doing an episode that I don't write,
just as I'm on the verge of scoring my first
hat trick.

Speaker 3 (04:20):
Yeah, well, I'm sure you'll fuck something up next episode.
Don't worry about it. Yeah, you're you're.

Speaker 2 (04:26):
You're solid with that.

Speaker 3 (04:28):
Yeah, you're very reliable.

Speaker 1 (04:30):
I mean, I just I just screwed the recording, so yeah,
I guess technically it's it's technically happened for two movies
in a row, so that that's tricks takes still alive,
you know. Yeah, And I suppose there's also the possibility
that I screw up something during this episode, like you said,
although it's not likely because I've been like I've been
staying on it so far because of how stupid I was, Like,

(04:51):
I just like once I saw that, like right away,
I was like, you gotta be fucking kidding me, because
I grabbed the information that I had on the Kindergarten
Cop episode to over to this FI like the new document.
I was like, it's not set in nineteen seventy eight.

Speaker 2 (05:06):
Well, just call it journalistic integrity. Realize you have a mistake.

Speaker 4 (05:10):
Yeah, you are putting it out there and you want
to correct it, so exactly all right, because.

Speaker 1 (05:15):
Yeah, you know it happens too art to myself.

Speaker 2 (05:19):
Yeah, everyone makes mistakes. That's why pencils have erasers on him.

Speaker 1 (05:23):
Yes, you can stick them up your butt?

Speaker 3 (05:25):
Why why?

Speaker 4 (05:26):
Why?

Speaker 1 (05:26):
Why? Why? Okay, it should have been so it makes
it easier to stick up you don't want the other
end anyway, Okay.

Speaker 3 (05:36):
The shape of that, Yeah, I was about to say,
technically the shape means the other side is more conducive
to sticking up there.

Speaker 2 (05:41):
But yeah, but you can poke your collin and then
then he got a hole.

Speaker 1 (05:47):
This is what's going one of the side dregs. Okay,
So anyway, let's get back to the quick facts. And
by the way, I'm just gonna burn thro them real
quick to like get him out of the way. Cool, Okay, So,
like I was saying, Stay Hungry is a nineteen seventy
seventh film directed by Bob Raffleman and stars Jeff Britches,
Arnold Braunschwager, and uh Oh Sally from the Blank one

(06:10):
A two song I Miss You Wait No that's that's
a son of a bitch. I got the year on again,
and this is what takes along with this episode. You
know how long that joke took to ride Jesus juke? Anyway, Okay,
one more time. Sorry, So Stay Hungry nineteen seventy six

(06:31):
comedy drama, directed by Bob Raffleson. And I'd say it's
kind of a like a bit of a stretch calling
it a comedy. You guys haven't watched yet, but like,
but like that's me saying that. Who also just wrote
like that horrible ass blank one a two joke.

Speaker 2 (06:45):
Like I didn't even get the joke.

Speaker 1 (06:48):
It's one of the lines, yeah, which it's a what
is it? It's a night Member before Christmas?

Speaker 3 (06:54):
Yeah yeah. One of the lines refers to Jack and
Sally from Nightmare Beforeast in that song.

Speaker 4 (06:58):
Yeah like Jack and Sally if you yeah, yeah, you
can always find me.

Speaker 2 (07:04):
Well I have Halloween on Christmas exactly. Well wish this
night well never could.

Speaker 1 (07:10):
It could have been worse because I originally called her
Sally Fields Raphael, but the back because I asked, I
deleted asked Eric Erica was like, do you know Sally
Jesse Raphael She's like no, I'm like, okay, well.

Speaker 2 (07:27):
She I mean, granted, the people listening to this podcast, probably.

Speaker 1 (07:34):
The kids that don't listen to this podcast, we never
get that reference.

Speaker 2 (07:39):
All the time. I did work with A Sally, A
Jesse and a Raphael. It's pretty great.

Speaker 3 (07:45):
That's fun.

Speaker 1 (07:45):
Would you only hang out with them when it's the
three of them? They're always trying to get that going
and then not show up. So they're all sitting.

Speaker 4 (07:54):
There like, oh, it's only Sally and Jesse or.

Speaker 1 (07:58):
No show up later, whether through there you're like Sally,
Josey Rufiel.

Speaker 2 (08:02):
They're like, who the fuck is that?

Speaker 1 (08:04):
Okay? So uh. Stay Hungry was written by Charles Gaines,
which he'd adapted from his nineteen seventy two novel of
the same name.

Speaker 2 (08:14):
Okay hold on, Sorry to interrupt.

Speaker 4 (08:16):
His name is Charles Gaines games Yes, and he wrote
a book of weightlifting Yes, Okay YEA.

Speaker 1 (08:25):
Director Bob Raffleson is also credited as a writer on
the film. Raffleson also produced was a producer on the
movie along with his partner Harold Schneider, and then United
Artists took care of the distribution. So Stay Hungry stars
Jeff Bridges, Sally Field, Rgi Armstrong, who I recognized because
I watched it once. I recognized, but I was like,
I didn't look up he's anyway, And then Robert England did.

(08:47):
He let's say, says English English, okay, Joe, and he
that is right?

Speaker 2 (08:51):
Yeah, yeah, okay.

Speaker 1 (08:52):
Okay, cool. Sorry. It's always it's always kind of hit
and miss with you, like sometimes you're like, oh hell yeah,
I mean and he's famous enough.

Speaker 2 (08:59):
Yeah, it's fucking Freddy Krueger.

Speaker 4 (09:01):
Yeah, I just not only was it written by Charles Gaines,
it's also starts Arnie Armstrong Strong Archie Armstrong and was
it said in England? But perchance it's like a shitty
sitcom situation?

Speaker 1 (09:16):
No, no, is there are there any like sorry, I
was thinking about your your name thing, like actors were like, well,
that's obviously what's it I'm trying to think of, Like.

Speaker 2 (09:25):
Yeah, Denzel Washington if he like plays like a white
House down or whatever like Washington d C. It's right there.

Speaker 1 (09:32):
No, No, I'm talking about like you're like, uh, like
I'm talking about like how you the names of the
actors and stuff. Do you have any favorite character actors?
Is what I think I'm asking where you're like, oh, yeah,
I really like I can't think of my character actor
right now.

Speaker 3 (09:45):
Oh, gry old, but like famous. It's like like I'm
trying to think that, Like I don't know, like a
Bruce Greenwood or some shit like that.

Speaker 1 (09:55):
See, I don't even know that. I'm sure I recognized
him when I see him.

Speaker 3 (09:58):
He plays the in a lot of stuff, the President.

Speaker 1 (10:03):
Oh oh, I know, I think I know you're talking
about character actors. I'm trying to think of like, oh,
like a Richard Kind is that name?

Speaker 3 (10:13):
Like, yeah, that's a good one. He's in a buttla
of stuff.

Speaker 4 (10:17):
But how to use it in Joe Namath because if
he Dick Kind, which I probably have done now that
I say it out loud, I don't have to go
through my notes.

Speaker 1 (10:26):
But uh well, I guess Stephen Root would probably be.
I don't know. I just like I was curious if
you're like, oh, man, everything that guys and like Richard Kind,
I really like because I'm sorry, I was watching Omer's
in the building. Richard Kind is uh again, he's mad
about I don't know what you sure he's the voice
of He's the voice of the inside.

Speaker 3 (10:48):
Out he's the voice of the voice of imagining character.

Speaker 1 (10:50):
The Marriage and Your Friend.

Speaker 3 (10:52):
Yeah. Uh, he was on Spin City, right, yes.

Speaker 2 (10:58):
Yeah, cast Spin City, Spin Character Cast. Oh yeah, I know, and.

Speaker 3 (11:05):
Spin City starring Michael J. Pod. I don't know.

Speaker 1 (11:10):
I'm sorry. I'm looking through the list of just a
like a the Google's like thing of character actors like J. K.

Speaker 3 (11:16):
Simmons is, uh, Gary Cole, yeah, yeah, the boss from
Office Space, Lombard Lombard. Yeah, I think it's Lombard.

Speaker 1 (11:25):
Yeah, okay, sorry, I thought that was going somewhere but
lumber Yeah, there you go.

Speaker 2 (11:31):
Lombard is the street here, the Windys.

Speaker 1 (11:35):
Oh yeah, the famous one, right, yeah.

Speaker 2 (11:37):
It's a famous street, famous a second avenue.

Speaker 1 (11:40):
Baby kidding gets about that. Oh, I know what I
was gonna ask you. Sorry, I was just wondering what
level of fame to where you're like, okay, but it's
I guess it's different for anyway.

Speaker 4 (11:52):
I mean, like like Stephen Route, like in Gary Cole,
like I know by name and everything, but you guys
are always like, oh fucking h Steve Stevenson and it's like, oh,
he's a big character actor in the eighties and early nineties,
and like, well.

Speaker 1 (12:05):
He remember was the seventies one.

Speaker 2 (12:07):
Who the fuck is that? Westy's not even in a
country anymore.

Speaker 1 (12:11):
Basically, I'm wondering, is is there like a like maybe
there's like a type of movie that see I don't
even know how to approach that because they're they're in
Raindom fucking ship.

Speaker 3 (12:19):
Yeah, totally random. That's that's what being a character actor is.

Speaker 1 (12:22):
You're like, yeah, okay, anyway, so, uh, only because I
was mentioning, like, is it just because because I just
read Robert in England's name again and I was like,
is it just because he's like probably? Besides, although he
didn't you didn't know who what I think we mentioned,
uh the one that does Chucky's voice?

Speaker 3 (12:39):
Oh Brad uh read.

Speaker 1 (12:41):
Dorif you said you said you didn't know who that was? Right?

Speaker 4 (12:45):
No?

Speaker 2 (12:45):
Is he really?

Speaker 3 (12:49):
Yes?

Speaker 2 (12:51):
Did he met the Waldorf Salad with his friend Wally?

Speaker 1 (12:55):
Yes? That was actually yeah, that's a busy game.

Speaker 3 (13:00):
Yeah you went.

Speaker 1 (13:00):
You don't know, but like for like horror villains, but
I guess probably Robert England is probably the most famous
one of like the horror things.

Speaker 3 (13:09):
Like the Slashers. He's probably the only actor I would
recognize from any of that stuff.

Speaker 1 (13:15):
I mean, yeah, I know I know the names of
some of the people.

Speaker 3 (13:17):
Behind and some of the other people, but like, yeah,
he's the only one who ever got famous as Robert
England I think.

Speaker 1 (13:25):
Sorry, I was trying to think of the guy from
so I don't know his name or like Tony Todd
is probably the only which is anyway, okay, sorry, Okay,
So I'm gonna read the short little plot summary that
was listened on a Wikipedia because I've watched the movie
but still couldn't really tell you what it's about. I mean,
once I read this, I was like, okay, yeah, that's it.

(13:45):
That is what anyways if that's okay, that's just a
very basic okay, like it's like the little tiny plot.
So the story centers on a young scion from Birmingham, Alabama.

Speaker 3 (13:55):
He already lost me. What the fuck does sion me?

Speaker 1 (13:57):
Okay, that's that's kind of hard. No, it's a car.
It's a car, so yes, it's a young sign, but
it's a new car.

Speaker 2 (14:04):
It's in nineteen seventy six y.

Speaker 1 (14:10):
Which I almost combined the description from Ornold Schwarzenegger and
then this, because I was like, what the fuck is
I know what a young Sign is after reading like Schwartzenegger's,
but basically Schwarzenegger starts it off by saying, he said,
the story focuses on the young sign, who's just Jeff Bridges,
but he's a he inherited a bunch of money, oh
okay from his parents or whatever, got it. So that's

(14:33):
what a scion is. I don't know sure I should
put a going to Wikipedia and rnnex to sign put
reference needed anyway, So, young rich guy who gets involved
in a shady real estate deal. In order to close
the deal, he needs to buy a gym, sorry it
says a gym building, but a gym to complete a

(14:55):
multi parcel lot. He becomes romantically interested in the gym's
receptionist and is drawn to the care for lifestyle of
the Austrian bodybuilder Joe Santo, who is training for a
Mister Universe competition and is oddly enough played by Sally Field,
which was like a casting switcheroo there. That last part
was me.

Speaker 3 (15:12):
But obviously, man in the seventies, they would make a
movie about fucking anything, wouldn't they.

Speaker 1 (15:19):
That's exactly what I was like. This reminded me and
there's something else later but like this reminded me of
what we were talking about, and like because I listened
to the The Kindergarten Cop one when Dave was talking
about every which way about loose. Yeah, yeah, and just
like the fucking hell yeah he hangs out with the
monkey and he goes down related.

Speaker 4 (15:37):
But you know, I mean, like the seventies, I think
what was it, Kramer Versus Kramer was like the number
one movie of that year or something, and it's like about.

Speaker 1 (15:48):
A next more serious movie.

Speaker 5 (15:49):
Yeah.

Speaker 4 (15:49):
No, it's about like a family going through divorce and everything.
I'm just saying it was fucking weird. Like the seventies
were a weird time for movies anyways, because that was
like the number one movie of the year.

Speaker 3 (15:59):
Yeah really, yeah, yeah, it was huge.

Speaker 1 (16:02):
Was that when Tutsie came out?

Speaker 3 (16:04):
Oh that was the eighties?

Speaker 1 (16:05):
Okay, that makes sense. You know they're not gonna let
Rob Williams or sorry, Robes not can get away. Doesn't
often get away dressing like a dame because they'd call
it a dame. It's dressing like a dame. In the seventies,
I think they'd call it a skirt. Yeah, those skirt
skirts probaly little closer. Okay, but yeah, now that we

(16:28):
have the quick facts out of the way, let's start
off by finding out how Schwarzenegger became involved in the film. Yeah,
And in order to do that, we need to go
back to the early seventies when Arnold met two fellas
who would have a pretty big impact on his career,
and they were George Butler and Stay Hungry writer Charles Gaines.
And by the way, like ninety five percent of the

(16:48):
info I found for this episode comes from three different books,
which are obviously Arnold's twenty twelve biography Total Recall, Auto Biography,
Total Recall, Sorry, Sally Fields eighteen autobiography titled in Pieces,
and then the last one was a nineteen ninety eight
book by Peter biss Biskind titled Easy Writer, Raging Bulls. Uh?

(17:10):
Double colon? Is that what those are called?

Speaker 5 (17:12):
Like?

Speaker 1 (17:13):
The two the two cold, the two the two colon things?
Is that a semi colon? Obviously?

Speaker 3 (17:17):
Is it just a what is just a colon? Yeah?

Speaker 1 (17:21):
The two dots? Okay, see I'm thinking yeah, yeah, okay,
two dots is just a colon anyway, Easy Writer, Raging
Bulls colon? How how how the sex drugs and rock
and roll generations saved Hollywood.

Speaker 3 (17:39):
Aaron's having a lot of trouble because there's a pencil
stuck in his colon.

Speaker 2 (17:42):
Yes, put the erasers saying first it's.

Speaker 1 (17:46):
Yes, yeah, it was very yes exactly. It helps me
stay awake because of the deprivation. You can see they're like,
deal with the sleeper deprivation or you know.

Speaker 2 (18:00):
Yeah, like Lily erased my poop.

Speaker 3 (18:04):
What wanting to find out?

Speaker 1 (18:07):
Man? And that book is fucking insane. I didn't even
finish it yet, and I don't think I am. But
I went in there to get stuff. Anyway. We'll talk
about that later, but okay, so anyway, okay, So, according
to Arnold in his book, he met George Butler and
Charles Gaines in the fall of nineteen seventy two when
Butler and Gaines were covering the Mister Universe contest for

(18:29):
Life magazine. Butler was a photographer and Gaines was a writer.
By the way, these two gentlemen were also eventually responsible
for Pumping Iron, which, for anyone not familiar with it,
is basically a behind the scenes look at the world
of competitive body building. Butler and Gaines co authored the
nineteen seventy four best selling book, and then they co
produced the nineteen seventy seven quote unquote documentary but more

(18:53):
of like a docudrama, which George Butler also co directed.
By the way, just for people listening, we did record
an episode like three years ago covering the that nineteen
seventy Pumping Iron the nineteen seventy seven document documentary, but
we just haven't released the majority of it, and I
make up a reason why, but honestly, it's mostly because
I completely forgot about it until I started writing this.

(19:14):
So I'm only mentioning the fact that we already covered
it as a reason for why we're going to kind
of slide past it today, and because we'll eventually get
through it whenever we finally like release that episode.

Speaker 4 (19:26):
Yeah, and that was before we had Chris on the show,
so we got to like, yeah, crazy editing, that's what
I'm in there.

Speaker 1 (19:32):
Yeah, so he needs like make comments every now and
then he goes and listen, listens to it and then
like makes comments and you know, laughing, Yeah, exactly. He's
the Joe for that episode. So anyhow, so George Butler,
Charles Gaines, who was going to use a nickname for
like I did with the Carralco Boys. But then the

(19:53):
only thing I could think of was like a com
like combining their names together. And I didn't think called
him but Chuck for the rest of the episode super appropriate.
So we're just gonna call Gaines. Yeah, yeah, exactly, because
I was like, they don't have a production company anything.
I don't know. The first thing that button mine was
a butt Chuck Butler, Butler and Charles, I don't know,

(20:13):
but yeah, no, I gotta be We're gonna be respectful anyway.
So Butler and Gaines met Arnold in the fall of
nineteen seventy two, with Arnold mentioning his in his book
that Chuck Gaines was quite not was Butler and Gaines
met Arnold in the fall of nineteen seventy two, with
Arnold mentioning in his book that Charles Gaines, because that's

(20:35):
what's throwing me off, just calling him Chuck, was very
knowledgeable when it came to bodybuilding and had recently had
recently had a novel published titled Stay Hungary, which Schwarzenegger
said was the bestseller. And I probably should have looked
up the book sales number, but we's just going to
take his word for it, like, yeah.

Speaker 3 (20:54):
A bestseller among all my bodybuilding friends.

Speaker 1 (20:57):
Yeah, exactly. So anyway, Yeah, so Arnold would eventually introduce
Butler and Gains to Joe Wheer, who, along with his
brother Ben, were basically the fathers of bodybuilding. Yeah. They
co founded the International Federation of Bodybuilders, which, according to Wikipedia,
is the governing body for the sport of Sorry, yes,
that's what it says, the governing body for the sport
of bodybuilding that oversees most of the major events and competitions.

(21:21):
And that just gotta be like like one fucking finance
governing body like that. It's got to be, man, It's
like the Arnold Schwarzenegger of governing bodies right there.

Speaker 3 (21:34):
I think Arnold Schwarzenegger is the Arnold Schwarzenegger of governing Okay, that's.

Speaker 1 (21:38):
The Franco Colombo of governing bodies right there.

Speaker 3 (21:42):
There you go.

Speaker 1 (21:44):
Anyway, In addition to that, Joe Eater also created Sorry
Joe Eater was also the creator of the Mister and
Missus Olympia contests, as well as publishing a bunch of
the major fitness magazines, including Muscling, Fitness, Men's Fitness, and Shape,
which is like a number one women's fitness magazine. That
was the only one that I sort of heard of.
But I was like, I know, I feel I know

(22:05):
I've heard of that.

Speaker 3 (22:06):
I mean Men's Fitness. I definitely no, I've heard feel.

Speaker 1 (22:08):
Like Muscle and Fitness and Men's Fitness. But I was like,
I know, I've heard of Shape. Once I clicked and
I was like, oh yeah, Shape. There was a couple
more than they mentioned, but they're they're not around anymore,
so it's okay. And then most importantly, well at least
I guess for us, is that Weeder and his brother
are the ones responsible for bringing Arnold first to America,
specifically for a Mister Universe competition, which he did not

(22:30):
end up winning. So he was actually planning on like
originally planning on going just going back home to Europe
after the competition was over, but instead Arnold says that
Weeder quote this is from the book, he quote, offered
to pay my way to California and get me an apartment,
a car, and living expenses so that I could concentrate
on training for an entire year. By the time the
same competitions came around again in the next fall, I'd

(22:50):
have another shot. Meanwhile, his magazines would report on my
training and would supply translator so I could write about
my programs and express my ideas unquote. Which first off,
it definitely sounds like Joey to recognized that Schwarzenegger's potential
because damn.

Speaker 3 (23:03):
He hooked him up, Like, yeah, that is a lot, Yeah.

Speaker 1 (23:08):
Basically paying for him for a year. And I have
a feeling that Arnold would have like he I think
he still would have made it to America eventually, because
that was, like, from what he says in the book,
that was one of his major goals at the time,
and he's he's just driven hiss hell when he's like
sets out to do something. Yeah, but it would have
made it way more challenging of an adjustment without like
that happening.

Speaker 3 (23:27):
Yeah, it's a lot of money to shell out for
an entire year.

Speaker 1 (23:30):
Exactly because I'm not sure how like, like moving to
a new country is already tough enough, but there was
also the language barrier. Yeah, yeah, yeah, especially at that time. Yeah,
and in his case, and I know that we're pretty
you know, we're usually a pretty like patient, tolerant bunch
over here in the US, especially when it comes to
non English speaking immigrants, but still like, yeah, that language

(23:51):
barrier would have been do you get like try to
find a job because not having to worry about that,
along with removing the stress of like immediately neing to
needing to find a job where that's not an issue
the language, and then basically just being able to train
all day, which he was able to do with like
Weeder helped him do, is just like a huge fucking
advantage when you get to America. Not only for like

(24:11):
going there as like a non English speaking immigrant, but
even if he would have done it on his own
and came there, he still wouldn't have been able to
work out as much as he was able to with
this situation because he would have to work. And I
guess he was basically like, this is like basically turns
into his.

Speaker 3 (24:28):
Job then yeah, right sort of Yeah essentially yeah, if
he's getting yeah, if he's getting paid to do it, yeah,
or it's.

Speaker 1 (24:35):
Like his he's like in a bodybuilding college. Basically that's
basically what that is like for everything.

Speaker 3 (24:40):
Yeah.

Speaker 1 (24:41):
Yeah, anyway, Sorry, so that's a little sidetrack just to
explaining who Joe Eater was. I realized we hadn't talked
about him yet. But getting back to where we were, so,
Arnold introduces George Butler and Charles Gaines to Joe Eater,
and this ends up being an important introduction and is
actually when I realized that I'll probably end up bugging
you guys eventually about redoing the production part of the

(25:01):
Pumping Iron episode because I didn't look at my notes,
but I'm almost positive that I didn't mention that along
with I'm sure much more stuff. Yeah, yeah, so episodes
were different then, yes, so we'll most likely discuss it
in more detail maybe later probably, But basically, at the time,
the general public wasn't very familiar with both the sport

(25:21):
as well as bodybuilding just in general, which I think
we did mention that. But yeah, so that introduction with
Weader meeting with Charles Gaines and George Butler, that introduction
nineteen seventy two ended up being the beginning of bodybuilding
becoming more mainstream, with which Arnold definitely benefited from in
at least a few ways, the first obvious one being

(25:42):
the exposure from both versions of Pumping Iron, which we'll
get into on maybe a different episode eventually. I don't know,
but for this episode, we're going to focus on how
he benefited from his relationship with Charles Gaines, who, along
with George Butler, Arnold became friendly with because Gaines and
Butler doing research for the Pumping Iron book, which I

(26:03):
believe they kind of did by like they were at
golds Gym. They're just gathering material by Like basically he
kind of makes a scene in the book like they
were around all the time because they were researching for
their books. I'm sure they were asking questions, just becoming
friendly with the bodybuilders seeing there, like watching their brookout
routine and everything like that. But that might not be
one hundred percent correct.

Speaker 3 (26:21):
But yeah, so he.

Speaker 1 (26:22):
Got to know him through that, and he's a very
personal fellow. So I don't know, it seems like he's
one of those people that makes friends very easily. Yeah,
these kind of people that hat Don't get me wrong,
I love them, but a little too much to where
they're like, you're coming all strong there, but I'm.

Speaker 3 (26:42):
Like, WHOA, You're supposed to be nice?

Speaker 1 (26:46):
What happened to us? I'm sorry, Like this is those
people that I like anyway anyway, Okay, So Arnold mentions
that Charles Gaines is actually the one who introduced him
director Bob Raffleson. Gaines had sold the rights to Stay
Hungry to Bob Raffleson, and then Gaines and Butler started

(27:06):
pushing for Raffleson to cast Schwarzenegger for the role of
bodybuilder Joe Santo in the film. So at this time,
Bob Rafflelson was already a well known director and producer,
having started a production company with his fellow producer Bert
Schneider in nineteen sixty five that they called they named
Raybert Productions, which was later renamed BBS Productions. Have you

(27:30):
guys ever heard of Bob Rafflelson by the way, No, okay,
never nop okay.

Speaker 3 (27:36):
And I know he made other movies, like just from
doing like just randomly seeing yeah stuff while I was
looking stuff up. But I don't think I've seen a
single one.

Speaker 1 (27:45):
Of his movies. Okay, just curious interesting fact slash, I guess.
Quick side note. But one of the first things they
did after forming the company was develop a television show
about a pop rock band that Bob Raffleson had already
tried selling to two different studios in nineteen sixty two,
but turned down.

Speaker 3 (28:00):
Was it the Monkeys or are you about to tell us?

Speaker 1 (28:03):
I'll tell you, but a couple of movies had come
out since then, starring some band from England called the
U b Atlas Stupid. Anyway, Raffleson and Schneider had no
problem selling the show after that happened, and Chris Guess
would show it was the Monkeys obviously got it?

Speaker 3 (28:22):
Yeah, so uh sorry, So they were trying to sell
that show before the Beatles got popular.

Speaker 1 (28:28):
Yes, raf Bob Raffleson, the director of Eventually a director
of Stay Hungary pitched that idea or I wanted to
develop the idea with two different production companies in nineteen
sixty two. And I think the Beatles are around then,
right too, but they weren't like the Beatles, like like

(28:48):
like Beatlemania and all that hadn't happened yet, which I
did like a super quick look at, just to double
check the years.

Speaker 3 (28:56):
Oh is Raffleson American? Do you know? Yes? Oh?

Speaker 1 (28:59):
Okay, I think he's from uh, New England and yeah,
which is easier to say in the New York. I
can't remember it's Connecticut, New York. I don't know anyway.
Oh yeah, so the Director of State Hungary also created
the at first fictional band and then eventual real band,
the Monkeys, And I've only heard a little bit of
their music, but I actually liked it so much that

(29:19):
I started referring to the Beatles as the British Monkeys
because I'm assuming that it's usually the other way around,
but I don't really know, probably like have you have
you guys heard any of their music, the Monkeys, Like.

Speaker 3 (29:31):
I'm sure I've heard a song or two Sleepy Jean,
Oh yeah, that's right, Yeah, I know that song. I
don't know.

Speaker 2 (29:44):
Or cheer of Sleepy Jeane? What can it mean to
uh daydream believe in?

Speaker 1 (29:51):
And oh yeah, is it that daydream Believer song?

Speaker 3 (29:54):
Is? Yeah, it's the dam Believer song.

Speaker 1 (29:57):
Okay, yeah, I know that song. Then there's one more
that I I saw that I don't remember right now
with that was like a big hit. But I know
one of the only songs I know is they come
out with later when they started like trying to be
like experimental and obviously when they started taking drugs or
something like that, and it's good, it's just doesn't sound
like the Monkeys, which I don't know what the monkeys

(30:17):
sound like. So, but anyway, so you guys have just
heard like the like the hits.

Speaker 3 (30:21):
Then essentially yeah, like the theme songs of the TV
show and not much else.

Speaker 1 (30:26):
Okay. I was just curious if they're sketchy song. Yeah.
I should have probably looked up who wrote it. I
don't know, but they Yeah. So he created The Monkeys,
and the success of both The Monkey's TV Show and
the Records meant that Raffleson and Schneider gained not just fame,
but enough money to start producing their own films. The
first of which, titled Head, also starred the Monkeys and

(30:50):
was Bob Raffleson's directorial debut in film. He'd already directed
an episode or two of The Monkeys, some episodes of
The Monkeys. I didn't look at the many yeah.

Speaker 3 (31:00):
Did Was it a Monkey's movie?

Speaker 5 (31:01):
Like?

Speaker 3 (31:02):
Was it starring the monkeys as the monkeys or just
starring those four dudes as other people?

Speaker 1 (31:06):
I see? I was like, they're not gonna ask you
questions about this. I don't need to look it up. No,
from what I read, because I was reading an interview
about it, like with him, it's I know this one
was supposed to be like trippy. Okay, let's see the
monkeys frolic their way through a series of musical set
pieces and vignettes containing surreal humor and anti establishment social commentary.

Speaker 3 (31:28):
Got it.

Speaker 2 (31:29):
So it sounds just like a bite off of Hard
Day's Night.

Speaker 1 (31:33):
You see, I've never seen those movies either. How are
those movies any good?

Speaker 2 (31:36):
Hard Day's Night is it's one's enjoyable health.

Speaker 1 (31:39):
What are they about?

Speaker 3 (31:40):
Uh fucking being a drugged out hippie.

Speaker 2 (31:46):
No, this is before they were drugged out hippies.

Speaker 4 (31:47):
That one is Yellow Submarine, And okay, if you're a
drugged out hippie, movie's pretty awesome, then it sucks.

Speaker 1 (31:58):
Is it just a bunch of visuals that one started?

Speaker 2 (32:00):
Yeah? Yeah, it's like an animated movie. But Hard Day's Night,
I don't know. They're like on a train and then
they're playing music and Paul's Grandpa's there, and then people
are chasing them and they're then they're gonna go play
a show. I don't think there's really a plot.

Speaker 3 (32:15):
They think it sounds like a dreams just a dream
Joe had.

Speaker 1 (32:21):
Wait, is it is real?

Speaker 3 (32:22):
Grandpa?

Speaker 1 (32:22):
That was my question at all, that it.

Speaker 3 (32:24):
Doesn't even mean George Harrison just a guy Joe, a
guy named Georgie knows.

Speaker 1 (32:29):
Okay, so there's no it's just because the monkeys were Sorry,
the Beatles were popular, and they're like.

Speaker 2 (32:35):
Yeah them put them in a movie. No, but that
one's good. I actually enjoy that movie in what way?
It's fun and funny okay, and then it's got good music.

Speaker 4 (32:50):
Yeah, it's like the comedy holds up and British people
usually aren't funny.

Speaker 2 (32:54):
So famously, wait, have we checked his stats? How are
you looking in the UK?

Speaker 1 (33:02):
I haven't looked at it recently, but okay, well.

Speaker 3 (33:05):
Who gives a shit about those British monkeys?

Speaker 1 (33:07):
Yeah?

Speaker 3 (33:08):
Sorry when you said it earlier it sounded like a slur,
so I thought I'd use it.

Speaker 2 (33:13):
Well, we might gain some fans from Ireland for.

Speaker 1 (33:17):
Uh new anti British slur we just made up exactly.

Speaker 2 (33:22):
Hell has a plot.

Speaker 4 (33:24):
Ringo has like a ring that some evil and they
go skiing and stuff. That one's that one's not not
that good, that one's in color, though.

Speaker 3 (33:34):
As evidence by the fact that they just made the
plot like the literally the first thing that came to
their mind. Yeah, well, Ringo has a ring. Yeah, yeah,
he's got a special ring.

Speaker 1 (33:46):
Okay, so are they actually playing the music or is
it or is it just like background? Like all of
a sudden, the song starts playing.

Speaker 4 (33:52):
Both, So I think when they're doing Can't Buy Me Love,
they're like running around in the field or some ship.
I don't know, but I should have known better, like
they'd play well on the train and then help they
play like different stuff. So I guess it just really depends.

Speaker 1 (34:09):
Were those the only three movies?

Speaker 4 (34:12):
No, there's Magical Mystery Tour, which I still have never seen,
and then let It Be, But that's more of a documentary.

Speaker 1 (34:20):
Okay, that's not funn isn't that what around the time
they break up?

Speaker 3 (34:24):
Yeah? Was that the one that just came out a
few years ago? Jackson like the Pete Yeah exactly, Okay,
got it. I tried watching that. I got through the
first half and then couldn't get through the second half.
I was like, this is boring as shit. I don't
care about the Beatles.

Speaker 1 (34:42):
Wasn't there a different documentary on? That was Disney Plus?

Speaker 5 (34:44):
Right?

Speaker 3 (34:45):
That was Disney Plus.

Speaker 1 (34:46):
Wasn't there a different one, like an older one? Or
is that the only one? Did let it be no
that was supposed to be really good or is that
the one that was supposed to be really.

Speaker 2 (34:52):
Good, that's the one that's supposed to be good as
Peter Jackson won because I mean they had like a
shitload of footage and then cut it down into a movie.
Let it be like came out in nineteen seventy or whatever.
But then it was kind of like you couldn't find
it anywhere. Yeah, watch it or anything. And then Peter
Jackson got ahold of it and remastered it and edited

(35:14):
it down to five hours or whatever.

Speaker 3 (35:17):
Yeah. Yeah, that was the other problem. It was super
fucking love.

Speaker 1 (35:20):
So Chris is just an uncultured swine then, yeah, pretty much.

Speaker 3 (35:24):
Oh yeah, I'm gonna say absolutely.

Speaker 1 (35:28):
Okay, I haven't even tried to watch it.

Speaker 3 (35:30):
It's in a British monkey.

Speaker 1 (35:34):
Okay. Anyway, So yeah, that was Bob Raffleson's directorial debut
for a movie. Anyway. After that they produced some pretty
big hits, including the nineteen sixty nine Roads I guess
slash drug Trip film, Easy Writer Throwing Peter Fonda and
Dennis Hopper, which I haven't.

Speaker 3 (35:50):
Say I mean that one, I've at least like heard
of yeah, and it sounds like a famous movie. No,
I've never seen it.

Speaker 1 (35:56):
Joe, No, No, I know of it, but yeah, Hopper
was also the director of that movie. And there's some
pretty crazy stories about the making of that movie in
that like Easy Writers Raging Bulls book that I mentioned
at the beginning of the episode, most of them involving
a drugged up Dennis Opper and I just want to

(36:17):
share one with you guys.

Speaker 3 (36:17):
Books.

Speaker 1 (36:18):
It's super quick, so, uh, they're making Easy Writer and
Dennis Hoppers on I don't know probably every all of
the drugs that he's able.

Speaker 3 (36:27):
To bare minimum six different kinds of drugs.

Speaker 1 (36:30):
He's yeah, exactly.

Speaker 3 (36:33):
That's where that question came.

Speaker 1 (36:35):
From, which I realized before reading this book that I
always kind of knew that he was. Oh yeah, Dennis
Hopper is like like crazy, like whatever. But that was
like nine nineties. Dennis Opera was like, oh, he's kind
of cooky. I didn't know that nineteen was.

Speaker 3 (36:54):
Calmed down and you didn't do as many drugs anymore.

Speaker 1 (36:56):
I didn't know that nineteen seventies Dennis Hopper was like,
you're like, hold shit, that guy's he said, yeah, that
guy's gonna murder somebody, yeah, which is brings us to
the story. Okay, so he busts in on I think
Peter Fonda. This is when they're making a easy writer.
Peter Fonda is having dinner with Ripped Torn. You know
both those guys are right, yeah, okay, And it says

(37:20):
the book says, Hopper burst in upon the revelers, who
are all drinking wine and having a fine time of it,
and shouted, what the fuck is happening, Peter, weren't you
guys writing? Having gotten their attention, he continued, things are
so rough out there, I couldn't even stop. In Texas,
they're cutting dude's hair with rusty raisers. Rip Torn, who
hailed from Texas, recalls he tried to calm Hopper down, saying, ah,

(37:41):
take it. I can't do a riped Torn.

Speaker 3 (37:44):
Take it. That's pretty close. Keep doing that.

Speaker 1 (37:49):
Not everyone from Texas is an a hole, it says.
And he stood up, extending his hand, but Hopper betted
it away, pushed him, says something like sit down, you motherfucker.
Then says to Horn, Hopper grabbed a steak knife off
the table and threatened him with it, placing the point
between his eyes. And about five inches away. Torn, who
had been a military policeman in the army, just armed Hopper.

Speaker 3 (38:12):
I was about to say, ripped Horn's kind of a
crazy motherfucker too, isn't for sure.

Speaker 1 (38:16):
There's like some other story like when I can't remember
what movie it was, where he like attacks there even
on film, you can watch it on YouTube. He attacks
a director with that. He comes at him with the hammer,
like yeah, like a little it wasn't like I mean,
it's still a hammer, but it was like a smaller
like a ball peen hammer, yeah, something like that, but
it is a fucking hammer still, and the guy like

(38:37):
gets him in, Like I think he was obviously on something,
but I think he was drunk, so we like the
guy was able to get him and like get it.
But like you can hear women in the back because
I watched the video because I was reading an article
about it, and you can hear women in the backgrounds.

Speaker 3 (38:48):
Like oh my god, like oh shit.

Speaker 1 (38:51):
But then you know nothing's gonna happen to them, so
it's okay to watch. I don't know anyway, So yeah, Torn,
who had been a military policeman and in the army,
disarmed Hopper, reversing the knife and putting it on his chest.
According to writer Don Carpenter, who was also there, Hopper
jump backwards, bumping into Fonda, knocking him down. Hopper exclaimed,

(39:14):
I've got a buck knife. You want to have a
knife fight.

Speaker 3 (39:19):
He just took your knife. Man, your knife. He didn't
want to have a knife fight. You wanted to have
a knife fight.

Speaker 1 (39:27):
He forgot already. Come on, Torn, Torn replied, I'll wait
for you in the street. Bring your guns, bring your knives,
bring your pals, and we'll find out in about three
seconds who the punk is. Then he walked outside.

Speaker 3 (39:45):
Anyway, that was a crazy first day of shooting.

Speaker 1 (39:49):
And Torn said, he said, I knew it. I knew
he had a buck knife, but I considered what would
happen if he did have a gun. So I stood
between two cars with a trash can lid. I was
going to sail at him and run like hell. But
he never came out. What Yep, that's what happened. So basically,
once rip Torn called him on his shit and went
outside and like, fuck you, let's go out and fight.

(40:09):
Then yeah, Denis opers like that guy's crazy. I'm going
out there.

Speaker 3 (40:15):
That guy's crazy. And he knows how to fight.

Speaker 1 (40:17):
Yeah. So yeah, Ripturn was supposed to be on his
Easy Writer, but he didn't end up doing it because
of other commitments.

Speaker 3 (40:24):
I wonder why. Yeah, anyway, so he made an easy
writer and then what else?

Speaker 1 (40:30):
Yes, that was easy writer. So anyway, the last film
that they produced as Raybert Productions was called Five Easy Pieces,
which Bob Raffleson directed and starred Jack Nicholson in what
I'm pretty sure was the role that made him famous.
And yeah, I know he was an easy writer, but
I think that this movie had a bit more impact
on his career, like, career wise, because he was the

(40:52):
lead character. And I could be one hundred percent wrong
about that because I'm not I've never seen an easy writer,
so I don't know how much how much actual screen
time he had. But anyway, have you ever seen Five
Ez Pieces?

Speaker 4 (41:04):
No?

Speaker 1 (41:06):
Okay, yeah, okay, So I watched it the other day
because I'm pretty sure it's Bob Raffleson's most successful film,
both critically and financially. And I only say pretty sure
because I'm not one hundred percent positive if it was
his highest grossing film, but I definitely know that it
was his highest rated like critic like on Rotten Tomatoes basically,

(41:27):
but yeah, anyway, So, Bob Raffleson also has a story
credit on Five EZ Pieces, with IMDb crediting Carol Eastman
as the screenwriter, and according to the Easy Writer Raging
Bulls book, Eastman wrote the screenplay based on some ideas
that Raffleson gave her. The book then claims that Raffleson
made script changes and then went ahead and gave himself

(41:50):
a story like a co story credit, which Carol Eastman
was not very happy about. And I'm not one hundred
percent sure if that's true or not, because a lot
of the people that the book talks about denounced some
of the stories for being untrue when it was released,
even though some of those people were interviewed by the

(42:11):
author for the book, like they it would be stuff
like he took what I said out of context. I'm like,
you said that this person did a bunch of blow
and then did this. I'm like, what which part did
do you he take out a context? Because like I
get that, like if something, but like all of it really,
like you're quoted throughout the whole fucking book. So I'm
kind of like Okay. Once I read that, I was like, okay,

(42:33):
well take this with the allegedly, but it's a really
good book because you're like that that's what the Dennis
Opper think came from. And like I said before, it's
just nineteen seventies Hollywood and craziness because the Hayes Code
that just ended recently ish, which you guys know what
that is.

Speaker 3 (42:49):
It was like the super strict rules about what could
be in movies.

Speaker 1 (42:52):
Right, yes, it was got which got put in place
in like thirties, twenties or thirties or something like that.
Stuff kind of starts changing in this like the early
seventies with the type of movies that start coming out
with like all of a sudden, you get all this.

Speaker 3 (43:05):
Ship like crime movies and ship.

Speaker 1 (43:07):
Yeah, yeah, you get the fucking potato in a hat
Gene Hackman likes with it's just a funny picture of me,
looks like a potato in ahead. What's called for the
Chase movie? I can't remember the fucking.

Speaker 2 (43:23):
Movie Italian Job.

Speaker 3 (43:25):
No, it's it's a not the sting.

Speaker 1 (43:29):
No, the French connection, the French connection. Yeah, yeah, he's
got those that pork by hat on him.

Speaker 3 (43:37):
Potato in a head.

Speaker 1 (43:37):
I don't know anyway, but yeah, so even Raffleson's ex wife, Toby,
who is five Easy Pieces, the film's production designer, said
in the book that the basic premise of the movie
was his idea. So I don't know, yeah, moving on.
Five Ez Pieces ends up being success upon its release,

(43:59):
which the rabert Fellas follow up with another hit, the
nineteen seventy one coming of age film The Last Picture Show,
which was nominated for eight Oscars in one two and
made Bert Schneider and Bob Raffleson like a couple of
Hollywood's hottest producers. Pretty much. They produce a few more
films over the next years that were gonna skim pass
because I don't know, I was running out of time

(44:20):
and they were whatever.

Speaker 3 (44:22):
No on them.

Speaker 1 (44:23):
I didn't watch him. They were The King of Marvin
Gardens in nineteen seventy two, which Raffleson directed and once
again starred Jack Nicholson.

Speaker 3 (44:29):
That's the Monopoly Man, I think.

Speaker 1 (44:32):
I I'm not sure, so maybe it's like, I don't know,
it's like a gritty movie made in the monopoly world,
which I'm never gonna watch it now. I'm just gonna
assume that's what it is.

Speaker 3 (44:40):
Yep.

Speaker 1 (44:40):
Yeah. Anyways, So then a film after that called The
Mother and the Whore nineteen seventy three, which I hadn't
no idea what that's about, but it sounds like a
fun time. Yeah, I didn't look any of these up.
And then following that up with the nineteen seventy four
documentary about the Vinum more titled Hearts and Minds that
pretty much catches us up to Bob Rafflson meeting Arnold Schwarzenegger.

(45:01):
Apologies about the long into for Raffleson. I wanted to
give you guys an idea of how big a name
Bob Raffleson was at the time, because I, like I said,
I definitely had no idea before researching this, and like
acclaim producer on top of that, yeah, which according to
that book was partly because they didn't interfere. They usually

(45:24):
would try not to interfere with the movies they were producing,
like giving the directors pretty much creative freedom that usually
ended up paying off.

Speaker 3 (45:32):
Yeah.

Speaker 1 (45:32):
Yeah, okay, So Arnold Schwarzenegger meets Bob Raffleson, who isn't
completely sold on Arnold yet for the role of Joe Santo,
but tells him that if he does end up in
the movie, it's going to be a life changer for him.
He's like, using like a five easy piece what five
easy pieces did for Jack Nicholson as an example, and
Arnold's like, oh my god, I can't believe it. Like
in the book, He's like I had thousand eyes and

(45:55):
stuff like that. So this is when Arnold first began
hanging out with celebrities like he like name drops Jack
Nicholson and Warren Baty at this point, who'd invite he says,
would invite some like bodybuilders to their parties.

Speaker 3 (46:09):
Because this was Sorry, just so I have the timeline straight.
This is definitely post Pumping Iron, right, No, this is before.

Speaker 1 (46:15):
This is before yeah, this is before the movie came out.
The book hadn't even come out yet, so okay, yeah,
so the book was coming out with this was like
seventy four soon like within the year.

Speaker 3 (46:26):
Got but okay.

Speaker 1 (46:27):
He also he mentions that Hollywood was starting to change,
like because I think I mentioned this in the in
the Pumping Iron episode that everyone's listened to, But Hollywood
was starting to change, and because at the time, the
action star was a potato and a hat.

Speaker 6 (46:47):
So like people like sure, sure, like Cline Eastwoinds like thinner,
like yeah.

Speaker 3 (46:56):
And Jack Nicholson and like yeah yeah yeah, well like
not that he did about yeah, but it was like
that was your leading man.

Speaker 1 (47:03):
Yeah, And he said that celebrities started to work out,
finally started to work out, but he also mentions that
they would work out, but then they would kind of
hide it. They wanted people to think that that was natural.
So yeah, the celebrities would invite the bodybuilders over. And
then he also mentions how that like a couple of
times that they would they came to his apartment and

(47:25):
they'd be hanging out outside having a barbecue. He's like,
which really tripped people out. But people would walk by
and they're like, wait, shit, is that Jack Nicholson. By
the way, he also had a girlfriend at the time
named Barbara Outland, who I believe he'd been dating for
five years at this point, since nineteen sixty nine. So
he mentions in the book that she wanted to settle
down and get married and for him to eventually like

(47:46):
open up a health store, So she wasn't super happy
about his possible venture into Hollywood. Yeah, I have a
good feeling about them. So anyway, so Arnold doesn't get
a straight answer for from Raffleson about the role. So
in the meantime, he and Franco Colombo decide to host
a bodybuilding tournament, specifically the nineteen seventy four Mister International Competition.

(48:11):
They hire a publicist to help them promote it, who
gets Sports Illustrated to cover the event, as well as
getting Arnold booked on various late night talk shows. Those
include The MERV Griffin Show, The Mike Douglas Show, and
The Fucking Tonight Show at Johnny Carson. Because apparently, like
talk shows were super lax about who they booked in
the seventies, I don't know what.

Speaker 3 (48:32):
The fuck he's trying to kill time guests. I think
I'm curious if that was the time always be Dom Delawise.

Speaker 1 (48:42):
Or Rodney dangerfielders always Dom Delawise. Well at the time,
I'm curious if this was the time when he was
doing two hours or like an hour and a half
or something like that, because I know there was a
time when he was doing he would go from there
was in a this was before Letterman, so he was
he would.

Speaker 3 (49:02):
Yeah, there was no there was nothing after the Tonight shows.

Speaker 1 (49:05):
Yeah, yeah, but yeah, so he got booked on those,
and of course he was as charming as fuck self
during these appearances, saying in the book that the interviewers
were always shocked that he could talk and wasn't just
some big dumb off. But yeah. So he and franco
host the Mister International competition in Los Angeles that was
August of nineteen seventy four. On top of that being

(49:27):
a success, it also leads to a pretty sweet opportunity
for Arnold because his appearance on merv Griffin actually ends
up leading to Lucille Ball's people reaching out to him
and asking if he'd appear in an upcoming TV movie
she's starring in with Art Carney, who I think it
was on The Honeymooners.

Speaker 3 (49:43):
Oh is he the skinny guy on the Honeymooners.

Speaker 1 (49:45):
Yeah, he's the one that's not I can't even John Gleeson.

Speaker 3 (49:48):
Yeah. Uh.

Speaker 1 (49:50):
That was titled Happy Anniversary and Goodbye, which Arnold says
was his screen debut because apparently Hercules in New York
never was never released, which I didn't double check notes,
but I don't remember that from the episode that we did,
which is kind of embarrassing because I'm like, how the
fuck did you not catch that?

Speaker 3 (50:06):
What? It was never released?

Speaker 1 (50:08):
That's what he said in his book. So so he
called this to his screen debut, which I don't know,
maybe maybe I Yeah, once we do Hercules in New York,
we'll figure it out. You know. Anyway, we're gonna skip
past his role in the TV movie with Luci Wall
because we're gonna get to that eventually in like some

(50:28):
other episode. But at the same time he was doing that,
he was also training for the nineteen seventy four Mister
Olympia competition, which he ends up beating Lufregno to win.
So after the competition, Arnold attends a book party for
the release of Pumping Iron, which Bob Rafelson is also attending,
and according to Arnold, Rafelson had begun casting for Stay Hungry,

(50:48):
with Jeff Bridges already having been cast in the lead role,
which doesn't quite line up with the timeline that Bob
Rafelson gave in a nineteen seventy six interview he did
with its call the BFI, the British Film Institute. Yeah,
but yeah, Arnold's a busy guy, so you know, he
can't remember every single minute of every single day.

Speaker 3 (51:08):
Yeah, it's definitely not because he was smoking all that week.

Speaker 1 (51:11):
Yeah, exactly. Anyway, So, according to the interview with Bob Rachfelson,
the day after the nineteen seventy four Mister Olympic competition
was the day that he'd set as his deadline for
letting Charles Gaines know whether or not he wanted to
adapt to Stay Hungry. Apparently, Rafaelson had met with Chuck
Gaines a few months before the competition to discuss adapting
Gaines's book, which Rafelson had read right around the time

(51:34):
he was doing a bunch of research for a movie
about the West African slave trade.

Speaker 3 (51:39):
Got it.

Speaker 1 (51:39):
Yeah, So, I guess after a family tragedy, though, Rafaelson
decided to shove that project and work on something a
bit more cheerful because the whole slavery thing was just
really kind of starting to bum him out, Like after
that family stuff happened, you know, like.

Speaker 3 (51:54):
Get fair, I guess, yeah, sure, especially like yeah.

Speaker 5 (51:58):
Question, yes, you mean he went to stay hungry from
the slavery.

Speaker 1 (52:05):
That's just the those words together sound funny.

Speaker 3 (52:09):
He was gonna make the slavery but yes, right then, but.

Speaker 5 (52:13):
He switched years and didn't stay hungry.

Speaker 1 (52:15):
Because something happened with his family and he got like
it just shit was tough, and I don't know, but
he put it more eloquently than that, by the way.
I'm sure, yes, but that's more or less what he said,
which I found like the honesty of kind of funny
because I know what he meant. Yeah, and it definitely
makes sense. But for some reason, it just made me
picture this like totally made up version of Bob Rafelson

(52:37):
that was just completely unaware of how fucking horrible the
West African trade slave was or slave trade was, just
like during his interview being yeah, during the interview, being like,
I don't know how familiar with this whole slavery stuff
that happened a while back. Whoa, let me tell you
it was not good. Just I don't know it was.
Oh man, have you ever heard of that?

Speaker 3 (52:58):
Just just comes into the interview with his hand shaking,
smoking a cigarette like Jesus christ Man.

Speaker 1 (53:07):
Apparently we're dickheads. He wouldn't admit that.

Speaker 3 (53:12):
I'm just now no.

Speaker 1 (53:14):
Anyway, okay, but yeah, like I said, Rafelson set up
a meeting with Charles Gaines to discuss the book, although
this wasn't because he was interested in adapting the story.
This was because the book's ending reminded him of the
last his last two films, with Rafelson admitting during that
same nineteen seventy six BFI interview quote with Stay Hungry,

(53:35):
I wasn't in the least interested in making this book
into a movie, but I was interested in the writer.
So I met Gaines in Birmingham, Alabama, and it was
only at the end of a very long conversation that
I said to him that the conclusions of his novel
were not unlike the conclusions I had come to in
both Five Easy Pieces and The King of Marvin Gardens unquote.
So basically, he didn't care about the actual story. He

(53:56):
just liked the fact that Chuck Gaines had ended the
book in a way that was totally similar to the
end of his movies, which cool, cool, yeah exactly, Like.

Speaker 3 (54:06):
What a weird place to start that conversation, like the bro.

Speaker 1 (54:10):
Yeah, sweet ending, man, have you seen my movies?

Speaker 3 (54:14):
Sorry, you've seen Five Easy Pieces? Right? You said you
watched it?

Speaker 1 (54:17):
Yes, I did. How does that end it ends? Oh? Sorry?
I was like I told you, I explained it to
Erica the other night, but yeah, she sort of saw.
So did I even tell you what it's about.

Speaker 5 (54:29):
I don't think I don't even know what it's.

Speaker 1 (54:31):
Okay, So basically it's Jack Nicholson. He's an oil a
Derek Oil Derek worker.

Speaker 3 (54:37):
Oh okay, gotcha, that's how it starts.

Speaker 1 (54:39):
And he's as a girlfriend who's kind of dumb, like annoying.
She's he's annoying, she did see and talks like a baby. Yeah.

Speaker 3 (54:49):
Gross.

Speaker 1 (54:49):
So it's basically like him like hanging out with his
work friend and his wife and for a while, there's
nothing really happening, and then all of a sudden he
quits the job. He ends up meeting with his sister,
who's a pianist, like like, I'm pretty sure she's like
recording for something. She's she's being recorded in his studio,
and you find out that he used to be like

(55:10):
like he's super good at music. Yeah something. Yeah, So
she tells him that their dad's not dying, like he's
had a couple of strokes. So he goes back home
and part of it is the trip going home, which
I think I might have mentioned this like before, but
there's a scene like a famous scene of him and
a diner and he's trying to order like eggs and
toast or something like that, but they there's no substitutions

(55:32):
and they don't have it, and so he's trying to
like get it's it's a good scene. Sure, yeah. Anyway,
he gets there. He hangs out with his family for
a bit. He realizes that they kind of stuck. His
brother's also a prodigy, and his dad was like, like
a they're kind of like a famous musical family, I think. Yeah.
His girlfriend shows up. One of their one of the

(55:54):
family's guests is a dick tor, so he defends her.
They leave, and his girlfriend's pregnant by the way, for
to I mention that they're going back home, and so
the movie ends with them stopping at a gas station
to fill up, and he's in the bathroom and then
decides to ditcher. So she's at the pump. There's a
like a big like refueling truck that's sitting right outside

(56:15):
the bathroom. He talks to the guy like without her
saying because he's like hidden behind the truck. He talks
to the guy who owns a truck, asks him for
a ride, like he doesn't show this. It's up. It's
like pulling out so you can't do anything, gets in
the truck and leaves, and the last like shot is
the truck driving away as she's standing there like looking around.

Speaker 3 (56:32):
That's the fucking end of the base.

Speaker 1 (56:33):
That's the end of the movie. So and I don't
know how I should have looked up how the King
of Marvin Gardens ends, but it's probably similar, if it's
totally similar to that.

Speaker 3 (56:45):
And so he reads this book and he's just like, man,
you're a bleak asshole, just like me.

Speaker 5 (56:50):
Yeah, I would like to think the end of King
of Marvin Gardens is he's just walking out with the
crown in the middle of a like a type of
French type of maze garden in front of a cast.

Speaker 3 (57:01):
Especially going to say he passes go.

Speaker 1 (57:03):
No, he he lands on the luxury thing after passing go.
Money taken away has got to end sad at exactly.
So yeah, he didn't care about the story, which again cool,
But like I'm as I'm reading all this stuff, I'm
like trying really hard as I'm writing this, not the
shit on this guy, because like the whole like he
and stuff like iron stuff just reasonly comes off like
egotisticals fuck and is that just me? Or like I'm

(57:25):
trure I'm reading more into it just because I'm I
don't really care for him.

Speaker 3 (57:28):
But yeah, I mean he seems like a prick. I
don't know it. It's at least a little bit egotistical.
I don't like going into a conversation where that's like
the only thing you liked about his book, or like
where that's really the only thing you guys have to
talk about, especially when he when the author is probably
really excited about meeting a director who liked his book, Like, yes,

(57:51):
that seems shitty, yeah.

Speaker 1 (57:53):
Which leads us to the next thing, because Rayfelson then
goes on to prove that he didn't give a shit
about the actual story by letting Chuck Gaines Charles gain
Sorry Chuck what Chuck Gaines know that he'd make significant
changes to the book if he did end up adapting it. Yeah,
this was This was at the meeting, So I guess
this wasn't a deal breaker for Gaines, even though he
did have other offers for the book rights.

Speaker 3 (58:15):
Hum.

Speaker 1 (58:15):
Yes, so he definitely could have pushed for a more
faithful adaptation if he really wanted to but apparently he
was a bit of like a Bob Rafelson fanboy, so
his interest in working with Rafelson ended up outweighing his
attachment to the source material Jesus, which is that's according
to Bob Rafelson, I didn't find anything about Charles Gaines

(58:35):
talking about it, but yeah, so, which Rafelson did warn him.
He's like, well, you might not be happy with it,
but then like doesn't mention anything else about it, Like
you you say that now, but you know anyway, Yeah,
so yeah, so even though Charles Gaines had agreed to
the changes that Rafelson wanted to make to the book,
Bob Rafelson still made him wait anywhere between six weeks

(58:56):
and several months, depending on the year. Like that he
was interviewed about this because like the first like the
first one, the six months was from a nineteen seventy
six that BFI interview, and then the several months was
mentioned in a twenty nineteen Esquire magazine interview. Yeah, if
you're if you're wondering what Bob Rafelson was actually doing
during this time. According to the twenty nineteen Esquire magazine interview,

(59:19):
he was quote hitchhiking across the South infiltrating Southern society
and immersing himself in the weightlifting culture because apparently he
was the like director's version of like a method actor.

Speaker 5 (59:31):
I don't think he needed that for this movie.

Speaker 1 (59:33):
Yeah, I mean it's good to know, Like I don't know.
This is also which is me defending the whatever, but
like it's also a time where you there isn't. I
think we take for granted how easy it is to
get information now, so I guess that's fair.

Speaker 3 (59:49):
But like, I don't know. I having since watched the movie,
I find that he is a little too in. He's
a little bit too intent or focused on getting like
an authentic feel for what Southern people are like, like

(01:00:09):
to the detriment of the story, Yes, like that's it
felt like that, but.

Speaker 1 (01:00:13):
Like not the bad parts of the Southern people.

Speaker 3 (01:00:16):
Well no, but man, can they play the fiddle? Yeah?

Speaker 1 (01:00:20):
The best part is the reason he gave for his
immersion into the weightlifting world, saying during the nineteen seventy
six interview that he did it because quote, I wasn't
sure I was in the least intrigued by their profession.
The day after the Mister Olympia contest in New York,
was the day I'd set as my deadline for notifying
Gains as to whether or not I would pursue the thing,
And there was enough there obviously to make me decide

(01:00:42):
I wanted to do it unquote. But yeah, like I
don't know, just like nothing gets me looking forward to
watching a film quite like reading about the directors like
lukewarm interest and not just the source material but also
the film's like like entire subplot.

Speaker 3 (01:00:54):
Yeah, just inspires a lot of confidence.

Speaker 1 (01:00:56):
Yeah, exactly. The more stuff I read, I'm like, why
did you even do the movie?

Speaker 3 (01:01:00):
Yeah?

Speaker 1 (01:01:00):
And there's something like in that book I read, and
I think I read somewhere else, but I think it
was actually in a Roger Ebert review or something like
that they weren't as worried about plot back then, like
it was more sure the feel of the movies or whatever. Absolutely,
I'm the complete opposite.

Speaker 3 (01:01:16):
So yeah, yeah, I don't really like that style, but
I understand that that's the way the seventies were. But
I don't know, I feel like there are probably way
better versions of it than this movie.

Speaker 1 (01:01:28):
Yeah, which again it makes me curious about the book,
but I don't know anyway that brings us back to
the Pumping Iron book party, and according to Arnold's book,
Bob Rafelson have begun casting the movie with Jeff Bridges
are having already been cast in the lead role. And
I couldn't really find much from Jeff Bridges about the movie.
But one of the things I did find is just

(01:01:50):
just great. So it's a twenty twenty two interview that
he did for a book about Bob Rafelson, and I
could probably sum up his answer for how he became
involved in the film, but I want to read it
instead because, like partly because it's short, but mostly because
it reads like it's unedited and you can definitely hear
I don't know so anyway, So interview, he's being interviewed

(01:02:11):
by Chris Wade and he's asked how he got the
part and Stay Hungry, and Jeff Bridges tells him, quote, Hey,
Chris Gosh, I wish I could do his voice because
I can't do a good Jeff Brushes because I'm just
going southern or something.

Speaker 3 (01:02:24):
Hey Chris Gosh.

Speaker 1 (01:02:25):
Now this is all so long ago. I'm trying to
think back now. Well, it all started with the Last
Picture Show, which Bob's company produced, BBS God what other
company is named after people's first names. I love that
The last Picture was one of their big productions, so
Bob was aware of me from that and it kind
of fell into place. I can't recall exactly. It must

(01:02:47):
have been through my agent. It all started with Picture Show.

Speaker 3 (01:02:52):
I don't know. That's where Jeff Bridges in his old age,
he just fucking talks like he gives no, like he
just doesn't give a shit, like he doesn't care how
he answers things, and he doesn't want to sound professional
or anything like that.

Speaker 1 (01:03:07):
It's just like, but I just love how the because
that that was written, So I like how the person
didn't cut out the hey Chris Gosh part. Yeah I
don't know, but yeah. So they cast him and he
already had a ton of credits at this time dating
back to the fifties, which I don't know. One of
them is like an infid in so that doesn't really camping,
but like masked that he was in. I didn't know

(01:03:28):
Lloyd Bridges had his own show. Oh yeah, because there was.
He was credit on the Lloyd Bridges Show, which I
was like, m and then I realized I don't know
because I didn't look at it because I was Okay, hurry,
but I realized, I don't think I've seen him in
anything older like his dad. No, it's like, because I'm now,
I'm trying to think of what I've actually seen him
and beside Seinfeld, I know I've seen him in a

(01:03:49):
bunch but.

Speaker 3 (01:03:50):
Oh like airplane, Yeah, probably exactly. I think that's like
the oldest thing I would know him from.

Speaker 1 (01:03:56):
God. So anyway, uh yeah, so Jeff Bridges' cast, We're
all at the party and now well. Charles Gaines and
George Butler are once again pushing for Rafelson to cast
Schwarzenegger for the role of the bodybuilding role of Joe Santo,
with Gaines even rewriting the character to make it more
Schwartz and Agarian, which he did by making the character
Austrian even though he's a Native American in the book.

Speaker 5 (01:04:18):
Yeah, it couldn't change the name.

Speaker 1 (01:04:20):
Oh that's what I was thinking to maybe, because the.

Speaker 5 (01:04:24):
First time I saw Joe Santo, I was like, really
it well, yes that, yes, you could have changed everything else.
You couldn't think of a different name.

Speaker 1 (01:04:34):
Gustaf Austrian.

Speaker 5 (01:04:35):
No, that sounds well.

Speaker 3 (01:04:37):
Like Joe can be Joseph fine.

Speaker 5 (01:04:40):
That's fine.

Speaker 3 (01:04:41):
But like the Santo, Yeah, it could have just been
Joe Schmidt venties.

Speaker 1 (01:04:49):
I don't give a about correct Come on, Joe Sensitivity.
Yeah yeah, Joe october Fest. Okay, but yeah. So Arnold
in says that Rafelson eventually calls him up to set
up a meeting after the TV movie that he did
with Lucille Ball aired, and during that meeting, Raefelson starts

(01:05:10):
grilling Arnold about the acting requirements for the role. And
I'm gonna read you this little part of their conversation
real quick because it just makes me laugh. This is
coming from Arnold's autobiography. So he says, quote, we sat
down at Zucki's in Santa Monica the next day for lunch.
Bob was all business. I'd never seen him in movie
director mode. He took charge of the conversation and had
a lot to say. He quotes Bob Rayfelson as saying,

(01:05:33):
I want you to play the lead role in the film,
but I'm not going to give it to you. You
have to earn it right now. I feel you are
not capable of being in front of the camera and
selling all the different beats that I need. And then
this is Arnold talking. He says, I didn't know what
a beat was, but as he continued, I begin to
catch on. And then he goes back to quoting Rafelson, saying,
most people think of a bodybuilder as a guy who

(01:05:54):
will walk into a room and crash into everything and
break it. When he talks, it'll be a rough talk.
But I bought the book part because this guy, besides
being powerful, is sensitive. You'll see him lifting hundreds of
pounds of weight, but in the next scene he might
pick up a glass and say, do you know what
this is? This is back a rat crystal. Look how
gorgeous it is. Look how delicate it is. That's just
one example. He loves music. He plays the fiddle. He

(01:06:16):
can get off on the quality of a guitar. He
has sensitivity and intuition that are almost like a woman's Jesus,
that's what makes the character. He is able to shift
gears and that's very hard to pull off. And that's him.
Quoting Bob Rafelson, Arnold and says, I made a mental
note I would have to take a few fiddle lessons

(01:06:39):
what he pulls from it. Every time I read that,
I'm like, I just sounds like something out of a
out of like a like Futurama or something like that.
Just like hands down to his notepen and.

Speaker 3 (01:06:49):
He's like, it's just like a picture of he's just
sketching a fiddle. He's like doodling himself playing fiddle.

Speaker 1 (01:06:57):
Anyway, Okay, so yes, So Raefelson eventually agrees to hire
him on two conditions, first that he began taking acting
lessons immediately, and then secondly that he cut down his
weight from two forty to two ten, which of the
two was the one that he had a problem with
because it basically meant that he'd have to retire from competing.

(01:07:18):
That he wanted him to cut his weight because the
camera makes the body look bigger and he doesn't want
him to, which is this is what he has Bob
riffleson Quota is saying, And I don't want you to
overwhelm the other actress with your size. You can still
weigh two ten and sell the idea of being mister Universe.
Yeah like even after he cuts down, he's still way
bigger than.

Speaker 3 (01:07:37):
He is, still huge.

Speaker 1 (01:07:38):
Yeah yeah, but yeah, so anyway, so he agrees to
do both, and the production company pays for three months
of both acting classes and private lessons from acting coach
Eric Morris, who had been Jack Nicholson's acting coach. Yeah,
and there's a pretty funny story in the book about
like his acting coach trying to get him to summon
the emotion to cry, but Arnold just like wasn't at

(01:08:00):
the time exactly in touch with his emotions. Yeah, just
like while reading and I was just like thinking, I
know why he wants him to cry, but for some reason,
he doesn't understand that it's something that he can never do.
I don't know. It just made me think of The
Terminator two saying for some reason like at the end
of the movie, like and then after that, I was

(01:08:22):
just imagining, like his acting coach like years later watching
T two. I mean, like you're telling me, like when
he sees delivered that line.

Speaker 5 (01:08:30):
Next. I don't think I've ever seen him past in
something that needs to cry. I think even even Maggie,
Like does he really need to cry Maggie.

Speaker 1 (01:08:38):
I mean, his daughter's dying, so.

Speaker 5 (01:08:40):
Yeah, but like's not yet.

Speaker 1 (01:08:42):
Yeah, but like I'm I think maybe in Maggie, but
like I don't know, I'm PROMI assuming, so I'm sure he.

Speaker 3 (01:08:52):
Did like between Maggie and Aftermath. I'm sure he did
at least once or twice. Yeah, I'm sure it was fantastic,
lot of other stuff.

Speaker 5 (01:09:01):
Yeah, I don't remember him crying in Aftermath or Collateral
Collateral Daniel.

Speaker 1 (01:09:09):
No, No, I wouldn't think he would have if he's
doing shower, So it just kind of.

Speaker 5 (01:09:14):
Well, the only shower scene in Aftermath. This is but
that I remember. So I was looking a little south
from his tears.

Speaker 1 (01:09:24):
Districted. Well, he shouldn't have been crying at that point either,
because he.

Speaker 3 (01:09:28):
Was looking at his other cheeks because Bill was before
his family died, so like he's crying, it's just his
own personal.

Speaker 1 (01:09:37):
Issues, like.

Speaker 3 (01:09:41):
Exactly just construction.

Speaker 1 (01:09:46):
Okay, So according to Arnold's book, it was right around
this time that Sally Fielderman cast who, before getting the
role of Mary Tate Farnsworth, had not worked in two
years ever since her show, which was called The Girl
with Something Extra, was canceled after only one season. Which
I'm really curious what that was about, and I.

Speaker 5 (01:10:04):
Think I remember, but I think it was probably something
similar to like a coming of age, like probably being
similar to I've never seen my so called life, but
I would assume it was something similar.

Speaker 1 (01:10:14):
I think she was nineteen or twenty when when she
got the part and Stay Hungry, I think, but I'm
not positive.

Speaker 3 (01:10:21):
I don't know. I'm sure it's just like a nineteen
girl situation. Yeah, well, like you know, it's just it's
a girl and she's quirky.

Speaker 2 (01:10:29):
She wasn't very.

Speaker 5 (01:10:29):
Happy about the wall, That's all I remember, because she
didn't want another like sick coommy type thing because she
was just starting to begin like the sick.

Speaker 3 (01:10:37):
I was going to say, is like I bet you
it was similar to Gidget?

Speaker 1 (01:10:40):
Is that that was a show though Gidget was Yeah,
this ends up being her first movie.

Speaker 3 (01:10:45):
Oh okay, yeah that was a show.

Speaker 5 (01:10:48):
It was only on one season.

Speaker 1 (01:10:49):
No, no, sorry, so sorry, I meant Stay Hungry ends
up being her first movie. Yeah yeah right, but yeah.

Speaker 3 (01:10:55):
So.

Speaker 1 (01:10:55):
According to Sally Field's autobiography, this is partly because she
told her agent that she only wanted to do movies
why she didn't work for two years, and she told
them to turn down any TV offers that came in.
Her agent advised her that she should stick to sitcoms
because only model models work in film, and she wasn't
pretty enough Jesus. Yeah, and she responded by firing that douchebag.

Speaker 3 (01:11:18):
So yeah, fuck that. Fuck that guy.

Speaker 1 (01:11:22):
He did throw in no offense and no offense do
network According to Sellly Fild.

Speaker 3 (01:11:27):
Well, no, I'm on his side.

Speaker 1 (01:11:28):
No offense, but you're not really prairie enough to be
in per Jesus Christ.

Speaker 3 (01:11:33):
Dude.

Speaker 1 (01:11:33):
Yeah, the seventies were fun, especially for the ladies. Yeah,
definitely for dudes anyway, And that's why she was famous
at the time. Wasn't it like yeah, like Erica said,
like starring as like in sitcoms as a kid, Like
it was just Gidget and the Flying Nun, wasn't it?

Speaker 3 (01:11:45):
Or there were more pretty sure that Yeah, yeah, okay.

Speaker 1 (01:11:50):
And it's didn't she like hate being like the Flying
Nun or was like ashamed of it or something like that,
or just because it was like it was like a
joke around like pretty much Hollywood or something like that, right,
like they like Late nine shows were digging in on
it and stuff like it was just like an easy
punchline sort of thing.

Speaker 3 (01:12:04):
I thought she just hated Catholics.

Speaker 5 (01:12:08):
So the Girl with Something Extra is about her and
her husband and being a normal, cute newlywed couple attempting
to begin a quiet new life together. The only problem
is she's blessed with powers of ds.

Speaker 3 (01:12:22):
She's psychic, that's what.

Speaker 1 (01:12:24):
That's the extra part.

Speaker 5 (01:12:25):
Which her skills at mind reading get her and her
husband into plenty of wackyast situations.

Speaker 1 (01:12:31):
She would it would.

Speaker 3 (01:12:33):
I guess it's just like a Bewitched trip off.

Speaker 5 (01:12:37):
Yeah, I guess.

Speaker 3 (01:12:38):
Yeah.

Speaker 1 (01:12:38):
Sorry. I read parts of the book, but skipped over
a lot of it, so I'm like, yeah, I got
like the Hungry part down, but there's at the end
of it I read because it's like I was like,
I wonder if you talk what she talks about with
the nineties stuff.

Speaker 3 (01:12:48):
Not much.

Speaker 1 (01:12:49):
Oh now she kind of skips over, kind of skips
over like the nineties I mentioned like the movies that
she was in that like in a passing way, but
then like stops on Lincoln because.

Speaker 5 (01:13:01):
That was a that was the role she like super wanted.

Speaker 1 (01:13:05):
But yeah, good book. Uh So, Anyway, apparently Sally Field
spent those two years leading up to Stay Hungry working
on the old acting chops. You know, like she was
even studying at the Actor Studio with Lee Strasburg.

Speaker 3 (01:13:17):
Who have you guys.

Speaker 1 (01:13:18):
Heard of I know Erica has because she read the book.

Speaker 3 (01:13:20):
But Chris, that's like a name I've heard. I don't
remember like who he is.

Speaker 1 (01:13:24):
Okay, So I guess he was the director of the
school like the Actor Studio, as well as being a
super famous acting coach, which I'm sure is simplifying and
doubt like and or doubt his career accomplishments. But and
I apologize for that to anybody that cares, which yes,
I apologize to that, but it gets the point across.
So whatever. So, basically, the New York Times had called

(01:13:47):
him the quote father of method acting in America and
said that he revolutionized the art of acting.

Speaker 3 (01:13:55):
Yeah. I think that's where I heard of him, as
like that.

Speaker 1 (01:13:58):
New York Times, that nineteen seventh Times tart to call
your read Yeah, exactly right. I was digging through the archives.

Speaker 3 (01:14:07):
It was a very well read child. Fetus cat in
the hat.

Speaker 1 (01:14:12):
Get that shit out of here. Bring me the Times, mama.

Speaker 3 (01:14:17):
I guess if you don't have any New Yorkers.

Speaker 1 (01:14:21):
Or you're hearing so. Yeah. So anyway, so Sally Field
was attending sessions with you know that dude Strasburg training
She was training to develop her method acting skills, and
she says she read the Stay Hungry script in nineteen
seventy five, which she described in her book by saying, quote,

(01:14:42):
it was well written and if telling an understandable story
with believable, realistic characters, what was what I was looking for?
Then Stay Hungry, wasn't it? Unquote Yeah, but I guess
She was given the script after the casting director included
her to the list of actresses to audio, which she
said happened for two reasons, the first being the good

(01:15:05):
reputation she'd earned based on her work at the Actress Studio,
and then secondly, actress Zora Lampert, who played Sally Field's
best friend on the show what was it called? The
last show she did? Yeah, was something extra she played
her best friend on that She was good friends with
the casting director, whose name is Diane Crittenden, So yeah,

(01:15:26):
and she'd recommended her. But yeah. As far as the audition,
she says that while waiting outside of Bob Rayffelson's office beforehand,
she could hear him screaming at the casting director at
Diane Crittenden just pissed about the fact that she had
added Sally Field to their list of actresses. That they
had audition and that auditioning her was a waste of time. Yeah, seriously, Like,

(01:15:48):
the more and more I read about this dude, the
more I just did not fucking like him. Like he's
basically throwing a tantrum loud enough for her to hear,
just to be a dick. Yeah, because there's no fucking
way that he thought that she might not hear him
if he's yelling right out, like and she's right outside
of the office, I don't know. And on top of that, Sorry,
this stuff is why his movies didn't really stand a

(01:16:08):
chance for me as far as liking them, because I'm like, oh,
fuck this dude, and then watching these movies, I'm just
sitting there criticizing every single fucking thing that I'm watching. Okay,
so sorry, So Rafaelson is yelling because he doesn't want
Sally failed to audition. Wait wait, sorry, I need to
start throwing in some allegedlies just in case. Okay, yeah, sure, okay,
so let me start that over. So Rayfelson allegedly throws

(01:16:29):
a bitch fit over having to audition Sally Field, which
if I'm gonna say allegedly, I can just say whatever
I want after that, right, Yeah, Okay, so Rayfelson is
just being a little bitch over the fact that Sally
Field has to audition.

Speaker 3 (01:16:38):
So allegedly tiny Dick Bob rayfl.

Speaker 1 (01:16:43):
Just with Field saying that she used the anger she
was like felt about that Dick move to fueld her
performance for the audition. That audition consisted of two scenes
which she would be doing like her scene partner was
Chuck Gaines Charles Gaines, the writer m Yeah, got it.

Speaker 3 (01:16:58):
Oh.

Speaker 1 (01:16:58):
I also forgot to mention that she had decided beforehand
that because her reputation going into the audition was as
like a like a Gidget, like the flying down like
a TV actor. Yeah, she decided that the only way
she was gonna get the part was if she went
in completely like method from the get go, so that
when she walked into the audition, they only saw the character,

(01:17:18):
the Mary Tate Friends With character, not Sally Field.

Speaker 3 (01:17:21):
Yeah.

Speaker 5 (01:17:21):
Yeah, I think it was also the first thing she
said she ever had to like audition for, because I'd
also been a TV show that was like made for her.

Speaker 1 (01:17:29):
She said it was her second one she said she auditioned.
I think she said the auditioned for Gidget and like
she has an audition since like nineteen sixty four or
something like that.

Speaker 5 (01:17:38):
Yeah, okay, I really had the audition.

Speaker 1 (01:17:40):
I didn't write it down, but eventually Bob Ravelson gives her.
She He's like, you're you're obviously the best because you've
done so many auditions. She's like, I have done. This
is my second audition ever.

Speaker 3 (01:17:48):
Yeah, I have an audition in what like more than
a decade.

Speaker 1 (01:17:51):
Yeah, real quick. Since I doubt most people, like those
people listening to this have seen the movie, how would
you guys describe that character the Mary Tape funds with
character from watching it. I have a quote from Sally Field,
but I was gonna get your impression of it first.

Speaker 3 (01:18:05):
How would I describe her? She's like a I have
a hard time describing her because she like in the movie,
she exists mostly as a love interest. Yeah, like that's
pretty much. She doesn't have a ton of character. She's
like she's spunky. Sure, I don't. I don't even think

(01:18:26):
she's that spunky. She just like doesn't take she I
will say that she doesn't take any like shit from
all the rich people that she has to hang around. Yeah,
like she has some fucking self respect and doesn't let
the rich asshole she has to hang out with h
during part of the movie like condescend to her and shit, yeah,
yeah she's yeah, Like they definitely play her up as

(01:18:50):
being kind of sex positive, yeah, in that she doesn't mind,
she's not like super conservative about it, and she doesn't
mind using her sexuality when she needs to.

Speaker 1 (01:19:00):
Yeah, which is similar to what like it basically like
some of them.

Speaker 5 (01:19:04):
Like.

Speaker 1 (01:19:05):
So the quote from Sallyfield about the character, which I'm
assuming is how she played it too, like the way
she saw it obviously, but she said, uh described her
as quote Southern and appeared to be uneducated, economically challenged,
and physically inclined. She was also sexual with an open, easy,
no big deal kind of sensuality unquote. She says that
was like a it was challenging because she wasn't like

(01:19:27):
like outwardly like that obviously, like that was an image
that she projected.

Speaker 3 (01:19:32):
Yeah, but yeah.

Speaker 1 (01:19:32):
So as far as the audition, Sally Field said that
they actually ended up unexpectedly improvising the first scene when
she decided to drop her script on the ground and
then walk over and straddle Chuck Gaines after taking his
script and tossing it on the floor. Yeah all right. Yeah,
so that was the first audition. She comes up leaves
without like making a contact or talking to them because

(01:19:53):
fuck them, like after she because that would be in
an asshole, and because she was probably still doing the
method thing. Yeah exactly. So she ends up getting a
call a week later from Bob Rayfelson regarding a callback,
with him supposedly starting off by telling her quote, well
we've now read every actress in this town, and I
can't believe that you were the best.

Speaker 3 (01:20:10):
Fuck you Jesus Christ.

Speaker 1 (01:20:13):
He says that, before mentioning that there are five other
girls that they were considering and none of them had
auditioned as well as she did, but they all had
that quote long legged and long haired look that he
was looking for. Because this dude is like seriously like
the King of like nagging, like fucking Jesus.

Speaker 3 (01:20:28):
Yeah no, he just fucking sucks shit.

Speaker 1 (01:20:32):
Anyway.

Speaker 3 (01:20:32):
Okay, this reminds me of the It reminds me of
the Radioactive Man movie. The episode of The Simpsons where
Bart comes in and he's like, you would be perfect
if you were five, and just she's christ fucking idiot.

Speaker 1 (01:20:50):
So yeah, so her second audition was with Jeff Bridges,
who she admitted to instantly connecting with, and pretty much
any interview I found with her talking about him was
always super positive.

Speaker 3 (01:20:59):
Like she yeah, like she she.

Speaker 1 (01:21:02):
They get along greater, she loves him. That goes both ways.

Speaker 3 (01:21:04):
Did they work together again.

Speaker 1 (01:21:06):
Yes, they did, like nineteen eighty two or something like that, Okay,
and I think.

Speaker 5 (01:21:10):
She ended up working with his brother or something like that.

Speaker 1 (01:21:13):
Too, well, we'dges probably yeah, so yeah. So sally Field
joins the film, with her saying that she stayed in
character for pretty much the whole production, and according to Arnold,
this is going back. Once sally Field was cast, Bob
Rafelson began threatening to fire him if he didn't make
weight by the time they begin filming in Birmingham, with
his reason being that because of how petite sally Field was,

(01:21:35):
it made Arnold look even bigger, which I said, suppose
makes sense. He's about a foot tall than her because
she's five to two. He's six too, and he already
looks big compared to when you see him on screen,
so I can imagine like that extra thirty pounds might
have made him look like cartoonishly big, especially because like
there's no way that extra thirty pounds was not like
almost all muscle.

Speaker 3 (01:21:52):
Sure, I guess I just like Sally Field in this
movie makes everyone look like a giant. So like, you know,
I'm not trying to be mean, she just like she
is she is, and she was insanely thin too. Yeah,
so she just makes everyone in this movie look giants.
So I'm like, you know, I don't it doesn't I

(01:22:14):
can't imagine it being that effective, but whatever.

Speaker 1 (01:22:17):
Yeah. So Schwarzenegger spends the winter of nineteen seventy four
cutting weight, and he reaches the goal, but unfortunately, right
before he leaves to fill in Alabama, his girlfriend Barbara
breaks up with him, which he basically says, he stopped coming,
but you know, still hurt. Not enough to cry, I
would assumed, but still still hurt. That's what he told her.

(01:22:42):
When but like he did, that's where he got that.
He actually gave that scene to James Cameron. He wiped
a tear from her from her eye and then said,
I know now while you cry. Unfortunately it's something I
can never do and then walked out already, And that's
gonna do it for this episode, but we'll be back
in just a few days to finish off that stay

(01:23:03):
hungry production info, as well as check out all those
sweet promotional videos that I definitely couldn't find until then. No,
we'd love you forever if you just take a few
seconds and leave us a rating and review on either
Apple Podcasts or Spotify. It helps so much and we
really appreciate any sort of constructive feedback. So yeah, thanks again,
and we'll see you all soon.

Speaker 3 (01:23:24):
See. If you enjoy our show, please consider giving us
a positive review on Apple Podcasts or your podcast app
of choice. You can follow us on Twitter and Instagram
at the Potty Richter to make sure you never miss
an episode. See You with the Potty Richter is a
production of tape Deck Media. Follow tape Deck on Instagram
at tape deck Underscore Media, or look us up on

(01:23:47):
Facebook for more hilarious podcasts.

Speaker 1 (01:23:50):
This has been a tape Deck Media production. Thank you
for listening.

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