Stay Hungry: Production Notes Pt. 2

Aaron, Chris, & Joe restring their fiddles for the hoedown that is Arnold's 1976 comedy drama, Stay Hungry!
The boys finish off the production info while discussing Arnold's Golden Globe & the human garbage that is the director before checking out some promotional material! 

Don't forget to Subscribe, Rate & Review us on Apple Podcasts & Spotify and we may just read your review during an episode!

And follow us on Instagram & Facebook to see any pics or videos we check out during the episode, or you can watch them by clicking on the links below!

Newsweek Oscars Roundtable(2010): https://youtu.be/q8JwVjTKtXI?si=yK89Uk4O5oYj0jIA
Google Play Interview(2012): https://youtu.be/FSPTkjtIHsI?si=TVdJn_WXrCwU5Ehj&t=414
Graham Norton Interview(2012): https://youtu.be/pKHYGazXA5I?si=J9sgwsUaBazdT0HE
 

Episode Transcript

Speaker 1 (00:02):
Tape Deck Media.

Speaker 2 (00:14):
Hello, and welcome to see you at the Potty Richter.
My name is Chris Chapman. And with me, as always
is my co host Aaron Frescus. Hello, and with me
as occasionally is a guest co host Eric A. Shasky. Hello,
and today we are going to continue talking about the

(00:35):
production of Arnold's nineteen seventy six Southern vehicle Stay Hungry.

Speaker 3 (00:43):
What's a Southern vehicle?

Speaker 2 (00:44):
Is that like a like the General Lee, I think
essentially nineteen seventy six generally.

Speaker 3 (00:49):
I was trying to think of another Southern vehicle. It
just like a Beverly Hillbilly's like a fucking jalopie.

Speaker 4 (00:56):
No, like I mean you say southern. The first thing
that comes to mind is like gone with the wind.

Speaker 3 (01:02):
So a horse. He's talking about a Southern.

Speaker 4 (01:05):
Vehicle covered wagon covered Yeah, okay.

Speaker 2 (01:10):
That's orgon trail work trails.

Speaker 3 (01:13):
North, isn't it? Or did they starting?

Speaker 2 (01:15):
I don't remember where they started, actually, I don't know.

Speaker 4 (01:17):
That's like it was like a little house on the prairie.

Speaker 2 (01:20):
The little house on the prairie take place the prairie, dumbass.

Speaker 4 (01:26):
I think they move around.

Speaker 3 (01:28):
Yeah. Also, Joe's still said the.

Speaker 2 (01:33):
Last episode, and we're just continuing.

Speaker 3 (01:35):
He's still where he is. He'll be back, he'll be
back for the summary.

Speaker 2 (01:39):
He's definitely alive.

Speaker 3 (01:42):
Yeah, definitely closed.

Speaker 4 (01:45):
The picture with today's.

Speaker 3 (01:48):
Exactly doesn't sound like sketchy. He is totally alive.

Speaker 2 (01:57):
So today we're gonna sure anyway, Today we're going to
finish up the production info with some of the shooting details,
how this movie and its reception affected the various careers
of everyone who worked on it, and uh, and then
we'll get to like the marketing and some of the
promotional videos. And for that we go to Aaron.

Speaker 3 (02:20):
Okay, so first off, before we get into stuff, I
just wanted to quickly mention that I know this episode
was supposed to be released a few days after our
last one. Uh. Sorry, Hey, you want to give me
money to release these weekly, I will be more than
happy to do that. But otherwise, the four people that
listen to this, I'm very sorry that we didn't release this.

Speaker 2 (02:42):
But if you send us upwards of eight dollars, we'll
get the shit out on time.

Speaker 3 (02:46):
That's all it would take is eight dollars. That's that's
what four people, That's exactly it's too come. Yeah, yeah,
that's I'd probably even do it for five bucks. I'll
give you five bucks if you release this tomorrow last night,
if you can pull together five Also, I kind of
just thought of a pretty not good joke of how
we should have introduced Derek. She's here to make sure

(03:08):
there aren't any fowls on the field. I don't know.
She's here to make sure I'm fucking anything up because
I didn't completely read the Sally Field book, right, Yeah,
no fowls on the field.

Speaker 2 (03:22):
Jesus crazy.

Speaker 3 (03:23):
Wow, it was good. That's why you know, you got
to workshop stuff that.

Speaker 4 (03:29):
Took way too long for me to even understand.

Speaker 3 (03:32):
I mean that was the first attempt. Okay, So moving
on to the actual production, and just a heads up
that there wasn't a whole lot I could find about
the actual filming of the movie.

Speaker 2 (03:41):
Yeah I could imagine. Yeah, this is not this is
not a well remembered movie.

Speaker 3 (03:44):
Yes, exactly.

Speaker 4 (03:45):
So.

Speaker 3 (03:46):
Filming began April twenty eighth, nineteen seventy five in Birmingham, Alabama,
with Arnold stating in his book that production lasted three months,
but then Sally Field saying in hers that she was
there for seven weeks, so filming lasted anywhere between seven
and twelve weeks, Like maybe she left after she was done,
I guess, or just you know. I don't know.

Speaker 4 (04:03):
I would say that seems really quick for a movie.

Speaker 5 (04:05):
But.

Speaker 2 (04:08):
That's almost two months, not quite two months.

Speaker 3 (04:11):
I have no idea sure.

Speaker 2 (04:14):
Enough for a movie like this. I feel like seven
weeks like that doesn't have a ton of specials or
anything like that.

Speaker 1 (04:20):
Yeah.

Speaker 3 (04:21):
Yeah, The only other notes I have about production were
something I have later, and then Arnold talking about how
he loved his time in Alabama and because Charles Gaines
was from there, that they were invited to a bunch
of parties. He also praised Sally Field, saying that she
was a kick ass like it doesn't meet paraphrase, but
she was a kick ass actress and fun to be

(04:42):
around and quote all bubbly and full of energy, and
that Jeff Bridges was quote very low key, a little
bit of a hippie into playing his guitar, and a
comfortable person hanging out with and very very patient.

Speaker 2 (04:54):
That's that's good.

Speaker 3 (04:57):
He also said that he was super grateful to them
for help him learn learn the ropes of acting and
that Bob Rafelson was so happy with his performance that
he eventually stopped checking his weight.

Speaker 2 (05:07):
Jesus.

Speaker 3 (05:09):
The one thing I want to mention real quick that
we'll cover whenever we decided to redo the Pumping Iron
episode is that he was like during filming, he was
visited by George Butler, who finally had the funding for
Pumping Iron. Yeah. Unfortunately this ends up being a problem
due to Arnold having both retired and cut weight for
the Stay Hungry role. But we'll get into that in

(05:30):
a different episode. Just wanted to mention here as well.

Speaker 4 (05:32):
Oh, at this point, but he's retired.

Speaker 3 (05:35):
This was seventy six, Like that's going to help me,
I don't. I don't know if he's he was forty,
he was forty interminator.

Speaker 2 (05:43):
Forty interminator and that was eighty eighty four.

Speaker 3 (05:47):
Eighty four already, yeah, eighty four, so he.

Speaker 2 (05:51):
Was basically early thirties.

Speaker 3 (05:53):
Okay, So before we wrap up filming, apparently one of
the last things, the last things I have was that
during a break from filming, Bob Rayfilson took Sally Field,
Jeff Bridges, and Arnold Schwarzenegger to see Jaws and then
afterwards told them that quote, this is the death of
the movie you're in right now, which has a plot.
I have so much fucking problem, like so many problems

(06:15):
with this, Like this is mentioned, yes, yes, but this
is mentioned in multiple Like Robert England, who's in the movie,
he's uh, just a supporting character in the movie. He
works at the gym, right, yeah, yep. I read a
couple of interviews with them. One of them is they're
both really good because he's been in the industry so long,

(06:37):
and he's like as like on you know, yeah, yeah,
but like he's got he's got a ton of stories. Yeah.
But he's talking about the seventies and being in the
movie and then like the whole seventies culture and the
like that, the way that just what we were talking
about earlier, like the movies which he called. Uh, He's like,
I consider myself very privileged to have participated, in my

(06:59):
own little way in that magical moment of American cinema,
the Great Golden Renaissance. And I get, like I said before,
I get why people like they refer to that because
they're coming out of the sixties and all that shit.
But sure, sure, I also am very plot driven. Apparently like,
I like this story. But the interviewer asks, in your mind,
what brought about the end of this magical moment? He says,

(07:19):
and it's been said by more than him, but a
combination of things. The success of Jaws created the summer
blockbuster phenomenon. Everybody wants a blockbuster, and then Dennis Hopper
made a movie that fucking bomb universe will put a
ton of movie into it, or not sorry, a ton
of money into But he said it hurt the credibility
of odd tours and there was a bunch of factors.
But it's so fucking weird. And I was talking Eric

(07:43):
about this the other night. In a lot of like
the Bob Rayflelson interview interviews, is them pointing out that
the blockbuster, mainly Jaws, that it created the summer blockbuster,
and they credit it with ruining the like the end
of this era. Got it, like the studio stopping these
movies after that summer blockbuster. Everyone wanted those. The problem

(08:04):
with it that I have is they're complaining about it,
but like, that movie's actually fucking good.

Speaker 2 (08:10):
What jazz yesh? Yeah, Like I would.

Speaker 3 (08:13):
Be okay with them complaining about it if it was
star Wars because Star Wars sucks, like it's fine, but
it's a fucking kids movie.

Speaker 2 (08:19):
Yeah it is.

Speaker 3 (08:20):
I get that complain with Star Wars, Natal Derek, I
get that complain with like, uh, Marvel movies. Yeah, but
that was fucking Jazz. Like, I don't know, it just
got very defensive to that.

Speaker 2 (08:29):
I take issue with the idea that it somehow ended
the odd tour movement.

Speaker 6 (08:34):
Yeah.

Speaker 2 (08:34):
And on top of that, to blame Jaws for the
industry changing is fucking stupid because who's making the decisions
about what movies get made the studio executives. Yeah, the
reason they're chasing the blockbuster is because they want to
make more money. It was never about the art for them.

(08:55):
It's just the studio executives were always money grubbing pieces
of shit.

Speaker 3 (08:59):
Yeah, exactly.

Speaker 2 (09:01):
Like to come out of Jaws and be like, well,
this movie is gonna ruin cinema. Fuck you. I hate
any time anybody says shit like that. No, fuck you.
The thing that's bringing down the system and the art
form is fucking the studio executives. It always has been,
it always will be.

Speaker 3 (09:21):
Yes, And that was only mentioned that wasn't mentioned in
Arns thing and Tellyfield didnt mention that either.

Speaker 2 (09:27):
So yeah, I mean, obviously that's what Schwarzenegger would go
on to do, is just make blockbusters, and like not
even blockbusters of the caliber of Jaws.

Speaker 3 (09:35):
Yeah, so he said, oh you think.

Speaker 2 (09:39):
He came out of that like, oh damn, you're right.
I should fucking I should ride this gravy train.

Speaker 3 (09:44):
Okay, So anyways, kipping forward, I have one quick post
production note with Bob Rafelson saying in twenty nineteen in
an interview with Aspen Times dot Com that he did
a locals only screening in Aspen after he finished the
first edit of the film, which he also edited. I
didn't ask me. I think I'm pretty sure that he
lived there, but yeah, so he was. He wasn't really

(10:05):
able to get proper feedback after the screening due to
someone passing out Ella's d to the audience, which was
a great, you know, a little story. So yeah, so
stay Hungry received James Cameron. Yeah, that's what I was
thinking about. James Cameron, the same guy, the same guy.
He's like, I got raffleson, Like, he's like it's like

(10:27):
waiting for his next opportunity. It wasn't until the Titanic.
I was like, wait, what about this time if I
get the crew exactly? So yeah, So Stay Hungry received
a limited release on April twenty third, nineteen seventy six.
It was also listed as being released on April twenty
fifth in New York City and then May twelfth in
LA And I have no idea how much it made

(10:48):
its opening weekend because even the paper where I found
the box office stuff for the villain hadn't started tracking
box office numbers yet or like stats or whatever.

Speaker 2 (10:58):
Yeah.

Speaker 3 (10:58):
Yeah, I mean I searched way too long. That's waste
way too much time with the research. Like part of
the reason I'll get this done is like I had
to stop myself from because I kept finding more articles.
I'm like, okay, well I gotta read this article now anyway,
So I like search way too long through newspaper archives,
which was interesting because they were like, it's cool, it's
like going back in time. But I didn't find anything.
It was probably like the old. Like I said before,

(11:19):
the only place I it's definitely is the variety archives.
But that's like six hundred bucks a year to access.

Speaker 2 (11:25):
So Jesus christy, but this.

Speaker 3 (11:27):
Podcast will be thriving If I got that.

Speaker 2 (11:30):
Yeah, I'm sure that's what's holding this. Yeah, yeah, baby.

Speaker 3 (11:33):
Anyway, so Stay Hungry, Stay Hungry grossed between fourteen point
six million and twenty four point eight million, which was
the twenty four was listed on Wikipedia, but it didn't
have a source. But I also found that twenty four
million number on moviefone dot com. So we're gonna go
with that, because if you can't trust mister moviefone, like,

(11:54):
who are you gonna trust?

Speaker 2 (11:55):
Like, yeah, that's true.

Speaker 3 (11:57):
Yeah, I probably trusted mister moviefione more than my own
parents when I was a kid. At least he picked
up the phone when I would call.

Speaker 2 (12:03):
You know, he never lied to you about when the
movies were.

Speaker 3 (12:06):
Nope, that's not the movie. That's not a theater anymore.
Oh yeah, that's not what mister movie phone taught me.
Head And then he's like hello, look on hello Champ,
and like recording different parts of the movies. When he's like, ye,
he says Champing, like is the title? I'm like, hello,

(12:28):
hello Champ. You are special to day. Thanks mister moone.

Speaker 4 (12:35):
Anyway, sorry, I will see what.

Speaker 3 (12:40):
Mister moviphone dot com.

Speaker 2 (12:42):
Also list the but I bet the coonies would be
your friends.

Speaker 3 (12:51):
I sho would have done that anyway. Okay, So moviefone
dot com list the budget at five million, which, if true,
means that the movie was definitely profitable, Beau because.

Speaker 2 (13:00):
Like even twelve fourteen million, Yeah yeah, yeah, So.

Speaker 3 (13:05):
Which is weird because even like it seems like a
lot of people that were involved with it kind of
implied that it wasn't. Yeah, with Arnold saying in his
book that you know, the United Artist, the production company,
the marketing team didn't know how to promote the film,
which led to poor box office sales.

Speaker 2 (13:21):
Yeah.

Speaker 3 (13:21):
He says that he and Sally Field went on the
Mike Douglas Show. When they were on there, they promoted
the bodybuilding fitness side of the movie when they should
have been pushing it as a Bob Rafelson film. He
also says that even at the time, he knew that
the marketing was embarrassing, but he didn't speak up because
he just assumed that the studios know what they're doing. So,
you know, yeah, which makes sense. I'm like, okay, cool, Yeah,

(13:41):
they know what they're doing when they see what yeah,
what the fuck? But yeah, He also talks about after
shooting the film that he couldn't get an agent that
would take him on.

Speaker 4 (13:49):
Wow.

Speaker 3 (13:50):
Yeah, they'd all tell him like the same stuff that
he's mentioned before in the few interviews that we've seen,
which is like his accent scary, his name's too long. Yeah,
body is strange. But then on top of that, I
guess he was, which is something here he always leaves out.
He was insistent on only taking leading roles. Oh yeah.
So the one agent that was willing to take him

(14:10):
on was was O. J. Simpson's agent. His name was
Jack Jilardi, who would get oj smaller roles in films
when he wasn't busy with football, and basically offered to
do the same thing for Schwarzenegger. But Arnold was like no,
fuck no, yeah, but yeah, he was finally able to
find find an agency to take him on after the
film was finally released, which was the agent. I don't

(14:31):
remember the name of it, but it was the same
one that represented at the time Sylvester Stallone and Angelina
Julie's dad, Oh John Void Yeah.

Speaker 2 (14:41):
Yeah.

Speaker 3 (14:42):
By the way. Timeline wise, pretty soon after this, that's
when he has his first meeting with Dino de laurentis
the one I mentioned in that we talked about in
Conan the episode where he immediately insults him and he's
like in imitating him or whatever. So that is right
around the same time. But he then eventually books that
job on the street to Saan Francisco right after this man.

(15:02):
That was after this, yeah, after which he ends up
deciding to stay away from any like after that role.
He ends up deciding to stay away from any villain
roles by the time being, saying in the book that
it would be easy to be typecast like as a
villain due to his He gave a few reasons. It
was his size, his looks, and the accent.

Speaker 2 (15:19):
Yeah for sure.

Speaker 3 (15:20):
I mean like the accent.

Speaker 2 (15:22):
Well, it would just be so easy for him to
end up heavy in any other movie, you know, like
like a lot of the guys let like do his
stunts and stuff. Yeah, all those dudes get type cast
constantly and just do the same thing over and over again.

Speaker 3 (15:35):
Trying to think of someone that's famous. I mean, I
know names, but it's like, is there anyway I just.

Speaker 4 (15:41):
Like I grew up watching a lot of old movies,
but the bad guy was always German.

Speaker 2 (15:49):
Yeah, that's true, Like.

Speaker 4 (15:50):
Like Heidi growing up, Heidi, the bad person is Fraulin
and Rottenmeier. Like how more obvious can you be with
that name?

Speaker 3 (15:57):
Like that's pretty Sweeten, Well, she's right German people. Yeah, yeah, yeah,
that's like.

Speaker 2 (16:06):
An inherently uh well two Americans, that's like an inherently
villainous sounding accent.

Speaker 4 (16:11):
Yeah exactly.

Speaker 3 (16:13):
But yeah, so that's why he didn't want to do that.
So he was actually turning down roles. What was it
it was? Uh, he said he got offers like for
a football player. He mentioned a Nazi soldier or officer,
and then a few other things. I can't remember those.
Those the two that I remember. I think a wrestler.
So yeah, he was able to turn stuff down because
he was making bringing him four grand a year from

(16:34):
his mail order business that he had male order business. Yeah,
which is the first time that I mentioned mentioning.

Speaker 2 (16:40):
This what like supplements or something.

Speaker 3 (16:43):
You know, that's a good question.

Speaker 5 (16:45):
What do you mean?

Speaker 3 (16:46):
I'm pretty sure it was uh yeah, I was just
sending out I think sate lifting stuff. I know it
was something fitness related, but I don't remember exactly what
it was. I will find out.

Speaker 2 (16:57):
Yeah, I mean maybe like pamphlets or training videos or
like bodybuilding equipment.

Speaker 4 (17:04):
Sorry, like mail order workout?

Speaker 3 (17:07):
Yeah yeah, like yeah, dumbbells. The stretchy wrote the Stretchy
Things resistant Yeah, now.

Speaker 2 (17:19):
Is it resistance once?

Speaker 3 (17:21):
Where you go?

Speaker 2 (17:25):
How work out?

Speaker 3 (17:26):
Geez judgy? Okay. Arnold was also nominated for a Golden
Globe for Stay Hungry.

Speaker 2 (17:35):
Really, I mean that's not bad. Yeah, I don't know,
considering how like.

Speaker 4 (17:39):
That seems shocking.

Speaker 2 (17:40):
He's in the movie less than I expect for somebody
won an award I guess, is what I'm saying.

Speaker 3 (17:46):
Well, okay, so it was. It was for the Best
Debut by a Male Actor category, which I guess is
no longer. Uh, it's no longer a category. Yeah, it
got I think it was like nineteen eighty two is
last year.

Speaker 2 (17:58):
Okay, well that makes more sense.

Speaker 3 (17:59):
And that was in Kingsley, so that that you know,
he's he's in good company. Ben Kingsley won it for Gandhi.
I'm pretty sure I think that was Gandhi. And then
Arld Swartz nigger, you know, he's yea Indian or something.
I'm pretty sure I think he like changed his name too.

Speaker 2 (18:23):
Well, now I don't have to be mad at him
for the love he was.

Speaker 3 (18:27):
He was born in Krishna Bonie.

Speaker 4 (18:32):
I don't know his father Yorkshire, England.

Speaker 3 (18:35):
Yeah, Scarborough. But he was born, Oh, he was born
sorry that's his name. Was born, not was born. He
was born Chris Krishna Bond Banjie. But he is he
is he is it? Okay?

Speaker 4 (18:56):
Yeah, his son is a Kenyan born medical doctor.

Speaker 3 (18:59):
Anyway, Golden Globe, which I guess, yeah, like that it's
not a category anymore in nineteen eight two. But yeah,
he was up against some interesting competition. Two of them
I have never heard of and I have sorry, okay,
so yeah, two have never heard of it, and the
two that I haven't heard of it I even I
haven't even heard of the films that are in So
the first two, which the ones that I haven't heard of,

(19:20):
were Lenny Baker for Next Stop Greenwich Village and then
Jonathan Kahn, who was nominated for The Sailor Who Fell
from Grace with the Sea, which is a long ass
title for a movie.

Speaker 2 (19:32):
Oh I thought Jonathan Kahn fell from Grace with the Sea.

Speaker 3 (19:35):
No, yeah, Jonathan conn was the actor I see, yeah,
starring in The Sailor Who fell Grace with the Sea
and then the other two. I have heard of Truman Capoti.

Speaker 2 (19:47):
I didn't even know he acted.

Speaker 5 (19:49):
I don't.

Speaker 3 (19:50):
I don't know anything about him.

Speaker 2 (19:51):
I thought he was a writer.

Speaker 3 (19:52):
He is a writer. I know that. Yeah, he wrote
Breakfast at Tiffany's.

Speaker 2 (19:57):
Oh yeah, he's racist, got it?

Speaker 3 (20:02):
But I know there's a real bad yellow face thing
and it's Mickey Rooney.

Speaker 2 (20:07):
Mickey Rooney is an Asian guy and some real like
looney Tune style racist caricature.

Speaker 3 (20:14):
Ship Yeah, okay. And then the last person was Harvey
Spencer Stevens, which is the little fucking kid from You
the Omen.

Speaker 2 (20:22):
Oh okay, gotcha.

Speaker 3 (20:23):
Yeah, that little asshole which we watched that. We watched
that during Halloween, and it's I wouldn't call it it's
not scary, but none of those it's not scary.

Speaker 4 (20:33):
There's some questionable slash disturbing aspects, some pretty good effects
for the seventies.

Speaker 3 (20:41):
When the guys head gets chopped off. Yeah, that was cool.

Speaker 4 (20:44):
I wouldn't say it was cool, but it was.

Speaker 3 (20:46):
It was super cool what it was.

Speaker 4 (20:49):
Yeah, but it still made me do one of these.

Speaker 3 (20:52):
But like, but like I'm pretty sure, like behind the scenes,
like story like that kid was a brat. So it's like,
oh really, I think so, Like I'm pretty sure that
was like a like he ended up getting the role
because Richard Donner told him to something about going crazy
or something, and like he tried to, like he started
like running up in like attacking Richard Donner or something

(21:13):
like that, just punched him right in the balls something
like that. It was like good. So I don't know
how much acting was involved there, but hey whatever, that's
it's a natural role. That's how Donald won sometimes anyway.
So yeah, so Arnold approach being nominated, like he does
pretty much everything else. He promoted the hell out of
it and basically tried to sell himself to the Hollywood

(21:34):
Forum Press. He did this by taking out ads in
the industry magazines like Variety in the Hollywood Reporter, thanking
the Hollywood Forum Press for nominating him. But that is
definitely not all. He also invited the members to a
dinner in an advanced screening of Pumping Iron, which apparently
seemed to have an impact because he mentions in the
book that a lot of the writers enjoyed the movie

(21:55):
and were pretty complimentary afterwards. And I know this is
like a common thing, but it still seems it's still
it's weird to me every time I like read or
hear anything about people like schmoot like schmoozing, like the.

Speaker 2 (22:08):
Yeah, yeah, of course they do a bunch of like
four year consideration parties and ship where.

Speaker 3 (22:13):
They yeah, yeah, we'll send you home with prostitutes and
stuff like that.

Speaker 2 (22:18):
Yeah, exactly, just like in the movie.

Speaker 3 (22:20):
Exactly an award.

Speaker 2 (22:28):
Anyway, perfect blow job sound, it's gotta it's gotta hook.

Speaker 4 (22:36):
Yeah.

Speaker 3 (22:36):
Ended up taking his mom with them to the actual ceremony.

Speaker 4 (22:40):
It's got a sensitive society.

Speaker 3 (22:41):
Brought his mom, that's true. He also says that he
florided with Raquel Welch, which was cool, and he even
received a compliment about the movie from Henry Winkler.

Speaker 2 (22:50):
Nice stuff.

Speaker 3 (22:50):
Yeah, himself exactly, who was so at the peak of
his fondziness at the time that his date for that
night was actually the jukebox that he's constantly kicking on it.

Speaker 2 (23:00):
I was hoping you were gonna say, Rackuel Welch, but
uh no, it's just.

Speaker 3 (23:05):
I think I don't know, Like when he mentioned the
book that Henry Winkler complimented about the movie, I immediately
popped to like, now Henry Winkler, so it's like an
old doing it. I was like, wait, no, no, because I
was thinking about it when I was writing this, So
that was like, that is definitely fond. I'm not sure
ye yea yeah, because that's I looked it up. Happy
Days came out in seventy four, so this is two
seasons a. Yeah, so this is like super super pizza.

Speaker 4 (23:29):
He's like so he came up and he was like.

Speaker 2 (23:31):
Yeah, He's like, hey, before he lives in the attic exactly.

Speaker 3 (23:37):
This is when Richie still had a brother. Don't didn't
even love Chachi yet. Okay, this is really getting dated.
Not yet, No one loves Chachi now. Pieces yeah, okay. Anyway.
He also mentions pelling around with Sylvester Stallone, who started

(23:59):
Rocky That, which he also wrote, and Arnold says that
Stallone quote told me enthusiastically that he was writing a
new movie about wrestlers and that there might be a
part for me, which I believe ended up becoming the
nineteen seventy eight film Paradise Alley, which Stillone also directed.

Speaker 2 (24:18):
What oh I said, never heard of it?

Speaker 3 (24:20):
Arify? Yeah, because I was like, wait, did that actually
get made that sounds like a soap opera name Paradise Alley? Yes, yeah,
and he so he had two movies after Rocky and
Fist and Paradise Alley that he wrote. And I don't
think he directed Fist, but I know he also directed
Paradise Alley.

Speaker 4 (24:38):
You know what I think about when you say Paradise Alley,
I think like, like like a New York alleyway, like
a really rough and rumbled type of one that's like terrible,
but palm trees, like maybe a hammock between the dumpsters.

Speaker 3 (24:54):
Anyway, So both Stallone and Schwarzenegger ended up winning a
Golden Globe that night, which good for them, but especially Rocky.
But yeah, that was good for them, especially Arnold because
he didn't have a whole lot to work with their Yeah,
So either way, I think it's pretty safe to say
that everything kind of worked out pretty darn well for
the career wise, for not just Arnold, but for like

(25:16):
a lot of the people involved in the Stay Hungry
in the movie.

Speaker 2 (25:19):
Yeah, seems like it.

Speaker 3 (25:20):
Yeah, because he had Robert England, who went on to
spend the nineteen eighties murdering a bunch of teenagers.

Speaker 2 (25:26):
Which is the dream for most actors.

Speaker 5 (25:27):
Yeah.

Speaker 3 (25:28):
Yeah, and well that and he also started Nightmare and
elm Street movies too, so that was good. Actually, no,
he didn't kill any teenagers, that's the joke. No, but
he looks like, okay, no, as far as uh, then

(25:49):
you guy like bread Breath Jidges. Then you got Jeff
Bridges and Sally Field, who both went on to do
much bigger projects that same year. That Stay Hunger was
really with Jeff Bridges starring alongside Jessica Lang and Charles Grodon,
which all right, good for him. In the nineteen seventy
five King cong remake was it's the which is but
I'm sure it was fu Sorry sorry, nineteen seventy six okay, sorry, yes,

(26:15):
with Jeff Bridges starting alongside Jessica Lang and Charles Groden
in the nineteen seventy six King congremake, which is the
one that like he's like in the poster, he's like
King Kong. Not Jeff Bridges is standing. He's got one
foot on each of the He's standing on top of
the twin towers, like he's got one foot on each tower.

Speaker 2 (26:33):
I don't think I've seen that, Yeah, I know, I
haven't seen the movie An Fall Down. Of course he
didn't swat those planes away. There you go, an American
piece of shit.

Speaker 3 (26:48):
That was actually produced by Arnold's tiny nemesis at the time,
Dino de Laarentez. So that's cool.

Speaker 2 (26:53):
Oh yeah, god, he was everywhere.

Speaker 3 (26:56):
Yeah he was. And then you got Sally Field starring
in the nineteen seventy six TV mini series Sybil, which
had which was a huge role for her and that
I believe she was actually able to audition for because
it was being cast by the same gal who brought
her in for Stay Hungry, Diane Crittendon. Yeah, so the
same with casting director nice. Yeah. And then a year

(27:18):
later she did Smoking the Bandit, And I don't think
we really need to do a career recap because she's
fucking Sally Field, like except yeah Field, Sorry, she's fucking
Sally Fields. The same thing I say would probably applies
to Jeff Bridges. Everyone knows his career and how he
pretty much turned in. He's like the dude in Real
Left Now, so yeah.

Speaker 4 (27:34):
Exactly, he's you know, from Tron, So yeah, had.

Speaker 2 (27:39):
A pretty lucrative eighties.

Speaker 3 (27:41):
Yeah, for sure, Starman Tron other stuff.

Speaker 4 (27:45):
I don't know Disney stuff.

Speaker 3 (27:48):
No, I think that was that was earlier.

Speaker 4 (27:51):
No, that's what I'm saying, earlier, like Disney stuff.

Speaker 3 (27:54):
Oh yes, yeah, yeah, because I think that's Kurt Kurt Russell.

Speaker 4 (27:59):
I get those two confused all the time.

Speaker 3 (28:01):
Like, I'm pretty sure that's Kurt Russell.

Speaker 2 (28:03):
K Russell was a Disney kid.

Speaker 4 (28:04):
Are those two so interchangeable?

Speaker 2 (28:06):
Because they look similar really, a very young I wouldn't
say they look two similar as like adult men, but
a young Kurt Russell very much looks like Jeff Bridges
did in this movie.

Speaker 4 (28:17):
Okay, wait, yeah, yeah, yeah, which that's Jeff Bridges. Okay,
there you go.

Speaker 3 (28:23):
He didn't work with Sally Field again a few years later,
in the nineteen eighty two romantic comedy kiss Me Goodbye.
M Yeah, good for them.

Speaker 2 (28:31):
I hope it was funny this time.

Speaker 4 (28:33):
It sounds like a comedy.

Speaker 3 (28:35):
Actually, yes, says comedy fantasy romance. The ghost of a
dead husband Hans's wife as she moved back to the
house in New York. She's I'm gonna watch that.

Speaker 4 (28:44):
She actually does say comedy fantasy romance.

Speaker 2 (28:47):
I was like ghost with a different cat.

Speaker 3 (28:50):
She's about to marry an Egyptologist there in Egypt. Who's
the ghost? Uh, James com looks like he's the ghost,
So I'm assuming that Jeff Bridges is the Egyptologist.

Speaker 4 (29:01):
Okay, it just seems like the most un serious gyptologist out.

Speaker 3 (29:06):
Yeah, like what you got pyramids man? And uh, there's
the coy exactly there and uh what else?

Speaker 2 (29:18):
God, I don't know.

Speaker 3 (29:21):
Anyway. So Yeah, like I was saying, a lot of
State Hungry's principal cast ended up doing pretty darn well
for themselves career wise. However, the same cannot be said
about director Bob Rafelson, who would eventually experience some major
setbacks career wise, which were mostly due to his own
dumb fuck actions on account of end being both a
shitty person and kind of a hothead. Yeah, by the way,

(29:44):
just throwing this out there, because I know I've been
shitting on them the whole time. I know I haven't
been too kind to Bob Rayfilson up to this point,
but it's mostly because one of the first things I
found out when I began research in this movie pretty
much made me like dislike him.

Speaker 2 (29:57):
From the start, which is understandable.

Speaker 3 (29:59):
Yeah, and it only got worse when I started reading
more about him and finding all these other stuff like
like all this like the stuff that just mean kind
of a crap egg.

Speaker 2 (30:08):
Yeah, it's weird that they're just kept being more shitty
things to find.

Speaker 4 (30:13):
Yeah, I would it wasn't the one time entity.

Speaker 2 (30:17):
Yeah, but I'm just saying he was. He was more.
He's a multifaceted ass He's not an asshole in just
one way.

Speaker 3 (30:23):
But yeah. So the thing that I found to start
the Wikipedia page for Stay Hungry is very small, but
one of the things they definitely have on there is
an interaction that happened with Sallyfield. So apparently he allegedly
had an affair with Sally Field during production, which like
you know, it happens he was married, but again whatever

(30:45):
Hollywood do whatever. Yeah, but the way the whole thing
came about and just like happened and everything is just
super gross and just pretty much cemented me like, oh,
fuck this guy. And then reading the other book, the
book about the all the crazy shit in the seventies anyway,
and just a heads up that the next few minutes
contained details about their affair as well as include discussions

(31:07):
of sexual misconduct. So if you prefer to skip that,
just fast forward to the next six minutes in about
twenty seconds and it'll get you to the next section.
But yeah, So, as far as how Bob Rafelson became
involved with Sally Field, it actually kind of goes back
to when she was auditioning for the movie, which we
mostly covered in the last episode, but if you guys
can actually remember that far back, we talked about how

(31:31):
Bob Rafelson was supposedly a complete dick bag from pretty
much the moment Sally Field derived for that first audition,
with him first throwing a tantrum because he didn't want
an audition her, and then about a week later calling
her up to invite her back for a second audition,
but doing it in like the most condescendingly dickheadish way possible. Yeah,
so she does her second audition, goes well, but she

(31:52):
says a couple of days later that Bob Rafelson called
her again, this time telling her that he was having
hesitations about hiring her because he didn't like the fact
that he'd be hiring the Flying.

Speaker 2 (32:01):
Nune so such a fucking ass. He was probably trying
to get her to fucking quit, like to not audition,
because I just after telling her, like you were easily
the best actress of the five. But it's surprising what
I want to Yeah, surprisingly, but you don't look like
who I want to cast. But anyway, I'll see you

(32:21):
for a second audition anyway, And then that audition presumably
goes well, and then he still is like, I still
don't want to cast you. I don't know such a.

Speaker 3 (32:31):
You don't That makes sense with what happens next, because
he then allegedly asked if she'd come to his house
for one more meeting before he left for Birmingham the
following morning. Jesus Christ, Yeah, which she does, but so
she says he ended up in his room and eventually
he supposedly tells her to take her shirt off because

(32:52):
you know, like there's a nude scene in the film,
and how else is he going to know how to
shoot that scene unless he sees her moves, you know,
which is correct. He says that he actually like his
actual reason, that he gave.

Speaker 2 (33:04):
The dumbest fucking reason I've ever heard.

Speaker 3 (33:06):
Yeah, so he then asks her to quote, go to
the closet and use whatever scarves and shirts I could
find to play dress up, and she does that, and
the meeting ends with Bob Rafilson, supposedly telling her that
she's got the part, but only if she kisses him,
because you know, you can't hire anyone who's not a
good kisser. By the way, everything that allegedly took place

(33:26):
at Bob Rafelson's house was only revealed like six years
ago with the release of Sally Field's autobiography in twenty eighteen. Yeah,
Bob Rafelson denied it because, of course, sure, saying that
he never had anyone kiss him for a part and
calling it totally untrue, which, okay, sure, dude. Like, first
of all, I won't go into some of the shitty,
unwanted advances that are mentioned in the Easy Writer Raging

(33:47):
Bulls book, mostly because of how often, like I read
that some of the events in the book were either
exaggerated or outright lies. But whatever, Like, okay, so we'll
not go by that, because there's like some stuff from
like fuck this dude. Yeah, but even without that, reason
to lie about.

Speaker 2 (34:00):
It exactly, that's my first thought. She has had such
a successful career more so than him, so like insanely
more so than him, Why the fuck would she? Yeah,
what what possible benefit could there be too lying about it.

Speaker 3 (34:16):
I don't know to.

Speaker 2 (34:17):
Bringing up a director that nobody even fucking remembers anymore,
Why the fuck would she do that?

Speaker 3 (34:24):
Yeah?

Speaker 2 (34:24):
What possible?

Speaker 3 (34:26):
Yeah, And it's not like Bob Rayfilson, who like comes
up as some super chill dude that you know, has
a ton of respect for women. So it's not like
he'd be like, you know, like it might not be true.
He's he's usually pretty pretty cool.

Speaker 5 (34:37):
I can.

Speaker 3 (34:39):
Yeah, because even Arnold said in his book that when
Raychelson hired Sally Field, he tried to use it as
a teaching moment, saying, quote, you see, I've been auditioning
all these girls, and the one who is actually the
best is the flying nun. I mean, Arnold didn't know
what the hell he was talking about because he's never
heard the Flynn before. But like once Rayfelson explained, it's like, oh, okay,
I got it. But then he like spews out some

(35:01):
more garbage by telling Arnold that everybody thinks that they
know what a girl has to do to get the part,
that you get the part by being in the director,
and then says, quote, there are girls with big tits
and great hair and great bodies who came in and
offered that to me. But in the end, the flying
nun got the job. She doesn't have big tits, she
doesn't have a carbaceous body, and she didn't offer to
fuck me, but she has what I needed most of

(35:22):
the part, which is talent unquote, and like, no, that
just made me feel like he the fact that she
didn't do that was like, Okay, Like.

Speaker 2 (35:31):
A fucking normal person who doesn't have these thoughts doesn't
bring that shit up and talk about them in the
first place, Like that's not that's not a thing you
feel the need to bring up in conversation if you
if it's not a thing you think about regularly.

Speaker 3 (35:45):
Yeah, And which again this is allegedly because it's in
two people that aren't hymns autobiographies. But I don't know
that gross audition wasn't even the end of it, because
she also said that she ended up having an affair
with Raffleson during production, which she said she had a
hard time with dude to Raffleson behaving differently behind closed
doors versus when they were on set, where he would

(36:07):
demean her in like shitty little ways, like constantly telling
her just to be sexier, be sexier, and then one
time even stopping filming and having everyone on set vote
as to whether or not they thought she was sexy.

Speaker 2 (36:19):
Jesus, yeah, Jesus.

Speaker 3 (36:21):
His wife actually ended up leaving him during production with
that book, saying that it was because she found out
about he been cheating on her for a while apparently
co according the book and whoever. But I think she
found out about salad like the stuff with Seally Field
because she worked on the movie. She was a production designer.
I said, yeah, yeah, his wife's name was Toby, by

(36:43):
the way, and.

Speaker 4 (36:43):
Like I guess it was not Tobey.

Speaker 3 (36:47):
Sorry, no, no, no sorry. When I read that she left him,
my first thought was, like when she found out about
the affair, she was just like the whole time, the
whole time, we need to leave. I need to leave.
We have to go, we have to go now we're serious.

(37:10):
That was seriously the first thing, like I thought of that,
and thew was like I got to write that down
and then forgot it.

Speaker 4 (37:17):
Anyway, you know what, nobody's going to get that.

Speaker 3 (37:20):
I'm sure someone will get it, so in all serious
like joking aside, because yeah, yeah, in addition to learning
about this and all the other gross like and or
asshole shit that Bob Riefelson allegedly did. I also came
across one of the reasons why not too many people
outside of the film community really know about him career wise,

(37:42):
if they've even heard of him at all. Yeah, and
I'm sure it won't really come as a surprise to
either of you that it's a result of him once
again acting like a completely irrational asshole.

Speaker 2 (37:52):
Yeah. Yeah.

Speaker 3 (37:53):
So apparently he was supposed to direct a nineteen eighty
film called Brubaker, which starred Robert Effort and was produced
by Fox Studios, who I guess had promised him complete
control and no studio in interference.

Speaker 4 (38:06):
Sounds like a sweet deal, yeah.

Speaker 3 (38:08):
Except for the fact that, like about nine days into
the production or not even that, an executive named Richard
Berger or Dick Burger if you will.

Speaker 2 (38:17):
I say, Joe would have a field day with.

Speaker 3 (38:19):
That, showed up to a set and demanded to meet
like a meeting with Bob Rafelson. Rafelson asked why, Dick
Burger said anyway, he said, quote, it's about your career,
and Rafelson allegedly responded by hitting him over the head
with an astray Yeah, an astray Christ Yeah, so it

(38:43):
just comes from the Esquit. It's like a twenty nineteen
Esquire article and it's it's a profile of him, so
like he's being interviewed for it. But yes, because what
I'm telling you, like if if you were in film school,
your dick is so hard for this guy. I don't
get it, but I'm pretty stupid.

Speaker 2 (39:04):
Yeah, so hey.

Speaker 3 (39:06):
There's just no yeah rude, Well, don't be so stupid.
I don't know what's tell you, but uh yeah. So
according to that that profile they were doing, they're basically
talking about his career and that's part of it because
he's supposed to direct this movie. Yeah, and so basically
what happens is the guy came to set, he started

(39:26):
like questioning the cast, asking a bunch of questions, and
then started watching the dailies. And then after that, I
told Bob Rayfilson that he wants to have a meeting
with him, and Bob Ravelson asked why. He said the
it's about your career, and Bob Rafleson said that he
responded with, uh, what about my career and kind of
like stepped forward and like kind of like shoved him
a little bit. That's what That's what he said, And

(39:47):
then it's basically like according to Rafelson, according to uh
Dick Burger, he hit him with the fucking astray in
the head.

Speaker 2 (39:55):
Jesus Chris, Yes.

Speaker 3 (39:56):
Which again, that's a big lie if it.

Speaker 2 (40:00):
Yeah, that's true. That's that's a hell of a thing
to lie about if you're.

Speaker 3 (40:03):
Going to potato potato, Yeah, potato potato. But like also
that's a very easy thing to prove too. You're like,
look at my fucking head.

Speaker 2 (40:12):
Yeah, because that's my first thought is like, like, I know,
Hollywood is kind of fucked up in that, Like, if
you're famous enough, you can get away with shit, But
how do you physically assault somebody.

Speaker 3 (40:23):
Like you attack an executive exactly?

Speaker 2 (40:26):
How do you physically assault somebody of that like standing
and get away with it?

Speaker 3 (40:32):
Come on, man, you need to understand.

Speaker 2 (40:34):
That's what PA's are for, I know exactly. Yeah.

Speaker 3 (40:37):
Anyway, so uh yeah, so he hit him in the
fucking head, supposedly, allegedly.

Speaker 2 (40:42):
And ash trees back then were glass.

Speaker 4 (40:44):
It was right, Yeah, yeah, Like I'm thinking you're quintessential,
like like one you would see it, well, not my
grandma's house, but my aunt's house.

Speaker 3 (40:52):
I mean, I don't know maybe he is trying to
give him a cigarette back and.

Speaker 2 (40:57):
You know, yeah, and his hand slipped exactly.

Speaker 3 (41:00):
He's like, I was just trying to get him a
cigarette back. I was trying to show him my art
that I made. Look at his ass tray shoving in
his face. You can't fire me. Look at his ass
tray anyway, For some reason they did fire him, which
come on, really fucking trauma cleans.

Speaker 2 (41:15):
Goddamn PC studio.

Speaker 3 (41:17):
Exactly nine days in he got fired, with Rafelson claiming
he was then basically blackballed in the film industry. Yeah,
I know, weird, So, yeah, he was black in the
film industry, Like even though he did direct the nineteen
eighty one Jack Nicholson film The Postman Always Rings Twice
and he has a few more films past that, but

(41:37):
it kind of looks like his career never really seem
to recover after that whole astray incident. You can't hit
Dick Berger, yeah, with an astray, which is basically trying
to say you gotta hit him. Hit him with some
pickles or something. That's the class. Yeah, that's the classic
pickles and bacon. I don't know anything not an astray
though it's Mustard. Yeah, to hit me with a mustard bottle,

(42:01):
anything but an astray. Bobby Elson did direct the music
video for All Night Long by Lionel Richie though, so
so yeah, there's that Lionel Richard. Lionel Richard, Lionel Richard.

Speaker 4 (42:15):
Never mind, why do I talk?

Speaker 3 (42:17):
Okay, So that's it for the production stuff. You're ready
to check out some of that non existent promo material?
Hell yeah, all right? Uh yeah, I couldn't really find
anything for this movie, so I have a few random
clips for you guys in Yeah, actually that's sort of
not true because his first one does have to do
with the movie. It's from a twenty ten Oscar roundup
hosted by Newsweek, and they've got a pretty prominent group

(42:39):
of actors involved. You've got Sandra Bullock, whatdy Harrelson, Gaberie Sidibay,
the actress that plays Pressures, like from the movie Pressure.
I think that's a GABERI gab GABORI I don't know
how to see.

Speaker 2 (42:51):
I can't remember.

Speaker 3 (42:52):
She's also in Tower Heighs too, you know I'm talking about? Yeah, Okay,
Carrie Mulligan, who I know is an actress.

Speaker 4 (42:58):
I know who that is?

Speaker 2 (42:58):
God, I I know the name, but I just can't.

Speaker 4 (43:01):
She's in Pride and Prejudice, and she in two thousand Pence.
She was in like a European paper film. I don't
remember what it was.

Speaker 2 (43:11):
I know she's been in like one thing that she.

Speaker 3 (43:13):
Was in Greg Gatsby, because she plays like the the
main uh yeah, Daisy. Yeah, but I looked through her
credits and I didn't notice that I did nothing.

Speaker 4 (43:22):
I know who?

Speaker 3 (43:23):
Okay? Anyway, Oh yeah, so Carrie Mulligan and then the
last uh fucking Morgan Freeman's in there too, so yeah,
it's a good uh little panel or whatever. Jeff Bridges
is also part of it, got it? And yeah. So
host David Ansen asks him about working with Arnold in
Stay Hungry, and Jeff Bridges tells him about a very
interesting sequence that they filmed that ended up getting cut

(43:44):
from the movie.

Speaker 6 (43:45):
Made a movie a long time ago called Stay Hungry,
and I think it was the first time that Arnold
Schwarzenegger was in a movie. Oh yeah, very good playing
her body Belty. Oh he was so good in that.
It was great to watch The Predator again the day
Oh oh right, yeah, the shot of Arnold walking through

(44:08):
the jungle holding with one hand his fifty candle machine gun,
and the whole focus.

Speaker 3 (44:13):
Of the shot was on his bicep. I realized this
whole thing was about his bicep.

Speaker 6 (44:19):
Walking through the jungle, hold of the thing. I mean,
I don't know, a story popped into my mind, and
you might want to delete this, but like, I feel
like I want to tell it to you. Guys. You know,
probably the funniest thing that's ever happened to me in
a movie happened to me.

Speaker 4 (44:32):
In that movie.

Speaker 6 (44:34):
We're doing this scene and the premise of the movie
just real quick, and Sally feels first movie I thought,
and Sally was Arnold's girlfriend, and now now I'm a
rich guy and I'm kind of taking Sally away. But
Arnold is playing this bodybuilder who's also a fiddle player

(44:55):
and also very spiritual with a great and he's kicking
honey in this part man now, and it's also training.
He's also helping my character train, and it's the scene.
Basically the scene is me saying, hey, I'm sorry, I'm
taking your girl, and he said, no, no, no problem,
right now? Can I can I get up just to
show this for a second, Yeah, Ca and so the

(45:17):
cameras about where this camera is and the exercise that
we're doing. I'm like this and over a thing like this,
and the camera's leg is aren't sitting on my back
with his legs hanging that is, and we shoot the scene.
Now we go see daily and I had no idea
that this was what the camera was seeing. What it
looks like. I can imagine. This looks like my legs

(45:38):
are his legs. His legs are my leg for doing
toe raised. It looks like it looks like he's standing
in my legs. He's got me lifted up and he's just.

Speaker 1 (45:47):
Giving it to me, saying.

Speaker 3 (45:52):
I saw that.

Speaker 6 (45:53):
I could not believe it. And he gets off and see.

Speaker 3 (45:56):
And they cut it out. It's not in the movie.
You're not going to get one shot.

Speaker 6 (46:03):
It's just like, oh, incredible.

Speaker 3 (46:12):
Okay, that's that's like clip. Uh yeah. Just like first
of all, the look on uh get that gab Gabby
Yeah yeah, the look in her face when he's when
he's doing starts doing like because he starts doing like
he gets up and like hip thrusting. Yeah, he starts
public trust like doing public drust. But the look on
her face when she starts when he's doing this, just shocked, like,
oh my god. Like the girls kind of looked in control,

(46:34):
even though Sandra Bullock was kind of laughing and carry
Out was laughing too, But the guys thought it was funny,
especially Yeahlson at the end funny.

Speaker 4 (46:45):
It looked like everybody look kind of like sleepy or bored,
and then a sudden everybody's.

Speaker 3 (46:49):
Like he this is Jeff Bridges these things. Also, it's
I just think it's what it's an oscar round table.
He's talking about that exactly.

Speaker 4 (46:59):
That's also why is that the movie, like out of
all the movies brought up to him, like, that's the one.
That's the one that you were like, I gotta know
about this one.

Speaker 3 (47:07):
Maybe he knows that story. I don't know. I saw
a story in something else too that it was written. Yeah. Also,
the thought of Morgan Freeman watching Predator is just great,
just like hanging out at watching TV, flipping through channels, flipping.

Speaker 4 (47:19):
Through I hope he narrates him just.

Speaker 3 (47:22):
Being like oh fuck yes, as he's like the Hunters
on curious if you watched the whole thing or just
like this movie, they were in fact not sick anyway, okay,
so moving on the next one also kind of sort
of has to do with the movie. So I guess
I kind of lied when I said I didn't find
anything movie. But yeah, So it's a twenty twelve interview

(47:43):
Arnold did for Google Play Presents to promote the release.

Speaker 2 (47:47):
Of his book.

Speaker 3 (47:47):
Okay, he makes a quick mention of doing Stay Hungry
as kind of like a segue on his way to
talking about Conan the Barbarian every time. And there's a
story he tells that we've heard before, but we haven't
heard it directly from Arnold, so got it.

Speaker 5 (48:02):
In nineteen seventy five, I remember that Bob Rayferson who
did Five Easy Pieces and Easy Right and those movies.
He came to me and said, I want to do
the movie Stay Hungry, and I want you and Sally
Fields from Jeff Bridgets Start. I said him myself, man
with this director I haven't made. And right after that

(48:22):
we did pumping on.

Speaker 3 (48:23):
Yeah, that's pretty much all you had to say about
Stay Hungry. So let's give forward a little bit to
hear his Conan story.

Speaker 5 (48:28):
And then Ed Pressman came to me and said, I
just bought the Conan rights and I signed the deal
with him, So I mean I had it made. I mean,
there I was in nineteen eighty doing Conan the Barbarian.
Dina the Lorenta is producing ed Pressman producing.

Speaker 6 (48:44):
There's another great story in the book where you had
an early meeting with Dino de Lorentis and it didn't
go so well.

Speaker 5 (48:49):
Well, that was different because dinner de Lorente said an
office and he wanted me to be in dog Savage
And I walked in and I always kind of, you know,
have a a mouth that sometimes it was a little
bit too fast and I step on myself. It's I
walked into the office and I saw Dino standing behind.

Speaker 3 (49:10):
His desk and it was this huge desk.

Speaker 5 (49:13):
One night golden, kind of like French looking or Italian looking,
I don't know what, but it was gigantic and Dino
the only thing that stood out was kind of his
chest and his head because he's a little guy. He
is a really short guy. So I looked in. I
walked in this office, and I looked in and says, hi, Tina,
why does a little guy like you need such a
big desk? And Totino the horrendas you never say you little, right,

(49:41):
because he saw himself as a giant. So he looked
at me and he says, ah, that's not an agger.
You have an accent.

Speaker 3 (49:48):
I cannot use it you ah.

Speaker 5 (49:52):
And I said again, stupidly, who is talking about having
an accent? I mean, look, listen to you, you were Nazi.
He walked away because I had a German accent. So
that was the end of that. So I left the
office and my agent came up to me, grabbed me

(50:13):
really forceful over my arm, and he said to me,
he says, I've been an agent for fifteen years. This
meeting was exactly one minute and fourteen seconds. It was
the shortest meeting we've ever had. You just fucked everything up.
God damn it. It took me months to get in here.
So that's how the relationship started with Dino. But then
when he bought Conan, he came to Spain where'll we shooting?

(50:36):
And the third day of filming, after he saw the
day list the footage should be filmed, he came up
to me and he said that swazeneg you were cone.

Speaker 3 (50:45):
Ah.

Speaker 5 (50:48):
And Millius came to me, the director, and he says,
this is the greatest compliment that he can ever get
he said, you're coner.

Speaker 3 (50:53):
Yeah, like I need to look up an interview with
Dino de Laurentes because like.

Speaker 2 (50:58):
Yeah, I'm starting to wonder if you just had a tick.
And Arnold just makes fun of him for.

Speaker 4 (51:01):
Me, yeah, to see his opinion.

Speaker 3 (51:04):
Well, no, just like how he talks, because now I'm
like curious, like why is he doing that? Is he
actually doing that's so weird.

Speaker 2 (51:11):
I was like, I've heard a lot of Italian impressions,
not one of them as a vocal tick like that,
not one.

Speaker 3 (51:18):
Of It's just like that's like it's like a Mario
Brothers thing right there or something like.

Speaker 4 (51:22):
That's like like his neck or back keep going like that.

Speaker 2 (51:27):
It doesn't that's exactly what it sounds like, like he
just had really bad problems.

Speaker 3 (51:32):
But I don't know, like we've heard that before.

Speaker 2 (51:35):
But it's well, sure, but it's really really funny to
hear the uh the impression. It wasn't now Arnold could
be in trouble instead of us exactly.

Speaker 3 (51:46):
Okay, And then before we watched the last one, I
had something for you guys that I forgot to add
when we did Kindergarten cop and I think I may
have mentioned it. It's a twenty twelve crack dot com
article that includes a bunch of random stories from Arnold's
longtime stunt double Peter Kent, who he actually doubled for
him in fifteen different movies. And I think I already

(52:06):
told one of those, one of his stories, the one
about him getting hurd on a stunt during a racer
that it ended up like that ended his career, basically,
I remember that.

Speaker 4 (52:14):
Yeah, So anyway, I almost asked the one that got hurt.

Speaker 3 (52:17):
Yeah, it was the one that got hurt. So he
and he was also arnold stunt double on Kindergarten Cop.
And he starts off the story by talking about how
he and Arnold would prank each other and how he'd
make food for them, how Peter Kent would make food
for Arnold like spaghetti basically, And I have a quote
from the article here, but there's a funny little part
right before he starts talking about Kindergarten Cop that I

(52:37):
wanted to start off with because it made me laugh.
But anyway, so yeah, he says, quote, I often made
the guy spaghetti when I visited his house where we'd
look at scripts together. We'd hang out on the grass
that choppers would arrive, paparazzi leaning out, and Arnold will
be like, get down, we have to go inside. They
want to try to nap photos of me in my
bathing suit. I don't know why that was funny to me.

Speaker 2 (53:00):
In his bathing suit eating spaghetti.

Speaker 3 (53:03):
So yeah, he continues by saying, when we were working
on Kindergarten Cop, he was playing opposite Penelope and Miller,
who was a bit of a pena deal anyway. It
was her first Row movie, but she was ordering people around,
especially the stunt guys. So, knowing that you had a
scene together in a small, confined space for a long time,
I made some spaghetti sauce for Arnold. I juiced up
broccoli and Brussels sprouse and cauliflowered anything that gives you gas,

(53:24):
and I poured it into the sauce and gave it
to him for lunch. When they did lines, he began
farting uncontrollably. Penelope complained of the director is saying, and
that is him quoting her, I can't work with this.
It's horrific and it stakes he just won't stop. The
experishes by saying Arnold came up to me and grabbed
me by the shoulders and said, Peter, oh no, what

(53:45):
have you done to me? Yeah, he's like, somehow that
was at the end of my career.

Speaker 2 (53:51):
But with fart since the spursed altar that sentence.

Speaker 4 (53:54):
That's that's not the first actress that's complained about. Yeah, yeah,
so if a caes that happened in the days, right, So.

Speaker 3 (54:04):
If he's already having trouble like normally, then like if
he gets something like that, like someone gassing him something. Yeah, Cassie,
it's got to be bad. Arnold take Bino Bino good stuff.

Speaker 4 (54:19):
I don't know, I've heard of it. You should be
the spokesperson, though. Yeah. I think he would be good
at it, with the accent and everything. He takes the.

Speaker 3 (54:31):
Gas out is that there is that their slogan.

Speaker 4 (54:35):
I don't know. I just thought that that would sound
like a Arnold thing to say.

Speaker 2 (54:39):
It does does sound like a pino.

Speaker 3 (54:41):
It won't be back, I got anyway. I like that one, okay.
And then this last one is a random one, but
it's a twenty twelve clip of Danny DeVito on The
Graham Norton Show talking about Twins two. So he talked
about Eddie Murphy being the third Twin before Graham Norton
asks about the long gas between the two movies, and
his response is funny anyway.

Speaker 2 (55:03):
The first one was I think nineteen eighty eight. So
what it's taken so long?

Speaker 7 (55:08):
Well, you know, he became governor of the state of California.
That was the stupidest thing in the world. I'm always
pitching ideas, trying to get some movies made or whatever
I'm doing, and I'm and I had them over my
house for lunch and I said, you know, I had
this idea for you know, a twins too. This was
way back then, and we were talking and he said

(55:30):
to me, you know that people have been asking him
to become He's going to be made her up for
governor of the state of California. And I just got
it's so depressed. I said, this is ridiculous. Why are
you going to do that?

Speaker 3 (55:42):
That's ridiculous.

Speaker 7 (55:43):
First of all, I was thinking, I wasn't really thinking
about the state, you know, and how how could this
guy run the state of California.

Speaker 3 (55:51):
I was thinking about, like, how much money.

Speaker 7 (55:53):
It's going to cost me if he doesn't do this movie.

Speaker 2 (55:58):
So I said to him, I said, Arnold, you're going
to do this.

Speaker 7 (56:00):
You're gonna get up in the morning and you're gonna
have a breakfast meeting if you're the if you're the governor,
you're gonna have a brunch meeting. You have lunch with somebody.
Then you got a meeting the afternoon. Then you got
to figure out this and the fiscal that and the loser,
all of this stuff.

Speaker 2 (56:14):
By the time you go to you come home, it's.

Speaker 7 (56:16):
Gonna, you know, be a dead man. I said, look
at this Twins too, Governor.

Speaker 2 (56:25):
It turns out I was right.

Speaker 4 (56:29):
I thought they were doing Tracy Morgan there.

Speaker 3 (56:32):
This is twenty twelve, and they're not doing it at
all anymore. Yeah, Like since Ivan Ryman died and Jason
Raymond hates comedy, does he I have no idea, but
that seems weird. Uh Swartz the hare said he stopped it,
so he's.

Speaker 2 (56:53):
Got I just don't know how he would do that.

Speaker 3 (56:55):
Like I don't know either. That's weird that he would have.
I don't know. Yeah, I guess like he must have,
Like maybe he does.

Speaker 2 (57:02):
I don't know.

Speaker 3 (57:03):
That doesn't make sense, like he would have to it
would have to be passed down him or maybe he's
a producer going to be a producer on it or something.
I don't know, Like.

Speaker 4 (57:11):
I just assumed he was in control of his stage.

Speaker 2 (57:13):
Yeah, but again, right men like Ivan Rightman would have
had to have owned some sort of some part of
the original movie. Like yeah, if it were to get
passed down to him, Ivan Rightman would have had to
own like the creative rights to something, whether it's the
characters or whatever. Yeah, that seems very unlikely to be

(57:35):
for a nineteen eighty eight movie.

Speaker 3 (57:37):
Well they did, I like remember they did, uh that
split because they made the deal with the studio that
was like where they would get a percentage of the
sales they'd forego their their salaries. Sure that doesn't that's yeah,
that's different.

Speaker 2 (57:53):
That doesn't usually include creative rights. Yeah, like that doesn't
usually include I don't know.

Speaker 3 (57:57):
But he hem saying or blamed it on Jason Rightman,
So I don't know. Yeah, maybe he just was pissed
because you like caught him kissing when you're supposed to
be like like, there was a fire, it was a
there's a fire alarm.

Speaker 2 (58:13):
There was a fire. Yeah, should have been that was
a real fire.

Speaker 3 (58:16):
You should have been outside you shouldn't have been making
out in the in that room with the girl. You
should not have been doing that. That was wrong, and
all yelled at him, but this is like, you know,
he's never really let it go since then.

Speaker 2 (58:26):
He's like, what are you doing, you little idiot?

Speaker 5 (58:28):
Oh?

Speaker 2 (58:28):
I thought you meant Jason rightman? Never let it go
like man, I was late.

Speaker 3 (58:33):
Sorry, Yeah, yeah, bitch, I'll never make a movie with that.
Abut to make a bucking motherfucker anyway. Okay, so that's
it for the promo stuff and for the production stuff.

Speaker 2 (58:49):
Cool. Yeah, So well that's gonna do it for this episode.
So join us next time when we.

Speaker 3 (58:55):
Do the summary, I think, yeah, the summary.

Speaker 2 (58:58):
Yeah, we're gonna do the summary. Sure, Yeah, anyway, join
us next time. And I guess there's really just one
thing left to say.

Speaker 3 (59:08):
Yeah.

Speaker 4 (59:08):
See.

Speaker 2 (59:10):
If you enjoy our show, please consider giving us a
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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
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(59:32):
more hilarious podcasts.

Speaker 1 (59:34):
This has been a tape Deck Media production. Thank you
for listening.