Want to know how stars are made? Meet one of the greatest star makers of all times, Director Marty Callner. Discover the mastermind who revolutionized entertainment with HBO's "Hard Knocks," defined a generation of iconic music videos and created the comedy specials format. Marty Callner, has worked with a lineup of legends: Robin Williams, Chris Rock, Will Ferrell, and icons like Aerosmith, Cher, and more.
In this not-to-be-missed episode, film/tv creator Adhrucia and her team delve into the stories, techniques, and magic that makes Marty Callner. From directing courtside at Boston Celtics games to redefining HBO’s comedic landscape and directing music videos that became cultural milestones, Callner’s work is a masterclass in storytelling.
Hear firsthand how Callner collaborated with the biggest names in the industry—Billy Crystal, Jerry Seinfeld, George Carlin, Dane Cook, Whitney Cummings, Stevie Nicks, Heart, Kiss, Poison, Ratt, The Cranberries, Scorpions, Whitesnake, ZZ Top, Bette Midler, Pat Benatar, Diana Ross, Justin Timberlake, Fleetwood Mac, Garth Brooks, Gladys Knight, Gloria Estefan, Marc Anthony—shaping the entertainment landscape and inspiring a new generation of creators.
Why is Marty Callner a pivotal figure in entertainment? How did his philosophy of directing shape the way we experience sports, comedy, and music videos? Join us on Curiosity’s Storyteller Studio for an intimate look into the creative process of one of entertainment's most influential figures.
**Subscribe** to Curiosity’s Storyteller Studio on YouTube for more insightful episodes that explore the art of storytelling with the masters of the craft. We are on a quest to find out where the best stories come from and our quest would not be complete without you! Don’t miss out on the inspiration behind the entertainment world's most beloved stories.
Love this episode? Share it with a friend and leave us a comment or review! Let’s spread the word about the stories behind the stories!
This episode was powered in part by Little Black Tux: Tuxedos for Women!
Cinematography: Phil Sakanashi
Produced by: Chas Allen & Adhrucia Apana
Post Production: PJ Donahue
Associate Producer: Amar Bedi
Music: Jimi Cravity
Make-up by: Gayane Hunanyan
In this not-to-be-missed episode, film/tv creator Adhrucia and her team delve into the stories, techniques, and magic that makes Marty Callner. From directing courtside at Boston Celtics games to redefining HBO’s comedic landscape and directing music videos that became cultural milestones, Callner’s work is a masterclass in storytelling.
Hear firsthand how Callner collaborated with the biggest names in the industry—Billy Crystal, Jerry Seinfeld, George Carlin, Dane Cook, Whitney Cummings, Stevie Nicks, Heart, Kiss, Poison, Ratt, The Cranberries, Scorpions, Whitesnake, ZZ Top, Bette Midler, Pat Benatar, Diana Ross, Justin Timberlake, Fleetwood Mac, Garth Brooks, Gladys Knight, Gloria Estefan, Marc Anthony—shaping the entertainment landscape and inspiring a new generation of creators.
Why is Marty Callner a pivotal figure in entertainment? How did his philosophy of directing shape the way we experience sports, comedy, and music videos? Join us on Curiosity’s Storyteller Studio for an intimate look into the creative process of one of entertainment's most influential figures.
**Subscribe** to Curiosity’s Storyteller Studio on YouTube for more insightful episodes that explore the art of storytelling with the masters of the craft. We are on a quest to find out where the best stories come from and our quest would not be complete without you! Don’t miss out on the inspiration behind the entertainment world's most beloved stories.
Love this episode? Share it with a friend and leave us a comment or review! Let’s spread the word about the stories behind the stories!
This episode was powered in part by Little Black Tux: Tuxedos for Women!
Cinematography: Phil Sakanashi
Produced by: Chas Allen & Adhrucia Apana
Post Production: PJ Donahue
Associate Producer: Amar Bedi
Music: Jimi Cravity
Make-up by: Gayane Hunanyan
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Speaker 1 (00:01):
You're listening to Ruckus Avenue Radio, available now on the
free iHeartRadio app.
Speaker 2 (00:11):
You're listening to Curiosity Storyteller Studio on Ruckus Avenue Radio.
Speaker 3 (00:19):
Out of HBO. Okay man and whispered in my ear,
there's nobody that I'd rather bet my five million dollars on.
The difference between making it and not making it is
razor thin. It's all mental. The consequences are gigantic. Jim
calls me. He says, Okay, buddy, this is it. You
have to direct it, and if you get up, you're out.
Speaker 2 (00:41):
Welcome to Curiosity Entertainment's Storyteller Studio. My name is Adrusha
and I create and write movies, music and television. Each week,
join me and my team as we talk to the
world's greatest storytellers in pursuit of the answer to the
question where do the best stories let's come from. In
today's episode, we're honored to welcome the legendary Marty Kellner.
(01:04):
Marty is an Emmy nominated director and the creator of
HBO's Hard Knocks. He's a legend and a transformative figure
in modern entertainment. Name is star across comedy or music,
and I promise you Marty has worked with them. Maybe
you've heard of some of them. Robin Williams, Chris Rock,
Will Ferrell, Billy Crystal, Jerry Seinfeld, George Carlin, Dane Cook,
(01:24):
Whitney Cummings, Stevie Nicks, Heart Kiss, Poison Rat, The Cranberry Scorpions,
White Snakes, zz Top, Bette Midler, Pat Bennettar Diana Ross, Justin,
Timberlake Fleetwood, mac Garth Brooks, Gladys Knight, Gloria Stefan, Mark Anthony,
to name a few. Today we peel back the layers
of Marty's illustrious career, exploring his unique perspective on storytelling,
(01:47):
his innovative approaches to directing, and the moments that have
defined his journey in the entertainment world. We'll discover what
drives his creative genius, how to remain relevant in ever
changing industry, and the stories behind the scenes. With some
of the biggest names in music and comedy, storytellers listening
close because Marty shares some real gems about life's success
(02:07):
and the choices we make that can forever change our
lives in an instant. Now, let's welcome Marty to the studio.
This episode was brought to you in partnership with Little
Black Tucks. Little Black Tucks is my go to when
I need a timeless look, whether I'm speaking on a
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(02:31):
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(02:52):
You're listening to Curiosity Storyteller Studio on Ruckus Avenue Radio.
We'll be back after these messages with more from our
Emmy nominated guest director, Marty Kllner. Yeah, you're listening to
Curiosity Storyteller Studio on Ruggus Avenue Radio. Now back to
(03:15):
our guest, Emmy nominated director Marty Kellner. Thank you for
being with us. Marty.
Speaker 3 (03:22):
I'm a huge fan of yours, and we met under
interesting circumstances and I was absolutely flattered when you asked
me to do this.
Speaker 2 (03:31):
You like me spend time growing up in Cincinnati a
town that I know can be. It's got a very
small town vibe even though it's a bigger city in
terms of the thoughts, the thought mechanics in the space.
(03:51):
It also can be really dreary for days on end.
It can rain and rain and rain, and you know,
food and the arts are kind of the only really
great things to do. And I know, for me, it
really spurned my imagination. How did spending time as a
child there really shape the way that you viewed the world?
Speaker 3 (04:11):
Well, I like being from there. I think growing up
in the Midwest gives you certain work ethic and certain
values that last your whole career. I don't think that
the taste makers are in New York and LA I
think they're in the Midwest. I agree, And it shaped
(04:33):
me because I was a latch key kid. My father
left when I was two. I never saw him again.
I don't know anything against him, because he gave me life.
And my mother used to teach me, you know, proverbs
and cliches which I said, don't tell me this stuff
every night, turned out to be the foundations for my life.
(04:56):
And she taught me, she said, a man who doesn't
build castles in the air doesn't build them anywhere.
Speaker 2 (05:02):
She was big on dreaming big, right. I heard you
say that before, and she taught.
Speaker 3 (05:06):
Me to dream big. You know. I always believe if
you can dream it, you can achieve it. When my
father passed, he was very very wealthy. We were very
very lower middle class, and I think our first house
costs like thirty four thousand dollars and she had a
big borrow and steel.
Speaker 2 (05:24):
You talk a lot about that about the contrast between
your father being oh, wealthy enough that buildings were named
after him, and as your mother growing up in Cincinnati,
being from a more middle class, lower middle class family
where you had forks and spoons that didn't match. The
contrast between those two environments. How do you think that.
Speaker 4 (05:46):
That's why I got my eye your world perspective because
on my house in Cincinnati there were pictures on the
wall of like ships from Kmart.
Speaker 3 (05:57):
It costs like three books. Yeah, and you know it was,
you know, tough. You know, my mother would actually steal
the Sweet and Low packs from the restaurants. None of
the somewhere matched. And when my father died, the family said,
oh my god, he's got this son. We'll get a
(06:17):
culture them up So the time between I was ten
and eighteen, I spent every summer in Chicago, and I
would go from what I knew, which I appreciated. All
of a sudden, I'd be in the penthouse of the
Drac Hotel with real Picassas, real Monaise, real Chagols.
Speaker 2 (06:37):
Wow.
Speaker 3 (06:38):
And I didn't realize it, but by us Moses, there
was a big difference. So when I first started directing,
I was hired because I made things beautiful. I didn't
know why, but that's why I developed an eye and
every woman star wanted to work with me because I
(06:59):
knew how to can look beautiful. But I didn't know how.
I knew to do this. It just came naturally.
Speaker 2 (07:07):
He will make you look, Yes, I will.
Speaker 3 (07:11):
I will. I know. I got to the point where
I wild DP my own videos because if I worked
the camera, I knew how to make them get when
I got to the editing room, i'd have more choices. Sure,
and because I shot it, and so I just was
a natural born storyteller. I used to tell stories in
(07:32):
school to get out of doing shit because I was
an artist who didn't realize it, and school, for me,
it was boring. So I didn't want to like go
do homework and algebra, so and make up stories to
tell the teachers. And they thought I was like cute
and they bought the stories, and that's how it kind
(07:52):
of started. And then when I would do all these
comedy specials, I'd always have a story open on them, okay.
And when I did music videos, I was the first
director who made them all narratives. My first video was
a band called Twisted Sister. Yep, We're not going to
take it, and it's a it's a story, okay. It
(08:14):
starts out with the story about rebellion, about a father
who was aggressive about his son playing music and his
son rebels and tosses metal window whatever. And I found
that I just did it. And my most successful videos,
like with Aerosmith, with Elyssia Silverstone who lives Tyler, we're
(08:35):
all love stories. Okay.
Speaker 2 (08:37):
So notice that I call them musicals, because your music
videos were the first to really employ story into them. Yes, well,
music videos like before.
Speaker 3 (08:48):
That, they were like performance videos, or they avant garde
art videos and crazy shots. And I did all that,
but I still told stories, okay, and it resonated, and
every video would like shoot to the top. So I
just kept doing it. I kept doing it every single video,
(09:09):
bon Jovie and Aerosmith Heart, and you know, I just
started becoming a storyteller. I really don't know how it happened,
I'd be quite honest. It's just a natural ability.
Speaker 2 (09:22):
Well. One of the things that you talk about, I
want to back up a little bit that I love
so much is when we talk about your journey. You
talk about not being so creative in grade school, and
I know you had a creative awakening that your mom
then pushed you towards interviewing at TV stations to possibly
get a job.
Speaker 3 (09:43):
Yeah, I was a bum. I was like drug taking, gambling, womanizing,
party animal. Excuse me. She was worried what's her son
going to be. She worked for a company called TV Guide,
and so she was familiar with the people at the
(10:06):
TV stations, and she introduced me to this guy named
Gus Bailey who liked me and gave me a job
as a prop man on the Nick Clooney Show, which
is George Clooney's father.
Speaker 2 (10:19):
Yeah, Cincinnatian.
Speaker 3 (10:20):
So I walked into this station and the first day
there was like all these lights and all this action.
There was a plane crash, and it was like applause signs.
I liked action, and I realized this is what I'm
supposed to do on day one, so they couldn't get
(10:41):
me out of there. And because when you find what
you love, you find what you love. And seven weeks
later I was directing. So it was like I got
lucky that I was put into an environment that I
belonged to and I just felt at home.
Speaker 2 (10:58):
And that first job directing, it happened because one of
the directors who was working on a show, he had
a tragic loss.
Speaker 3 (11:10):
Yes, in this particular station, there was all kinds of things.
There were sports, there were specials, there were talk shows,
but the most important thing was the news. And it
was a very tough task master named Al Shattlecottie. And
everything on the news was either a picture of videotape
or film or slide. There was no newscaster except going
(11:33):
in and out of the commercials. It was impossible to direct. Impossible.
This guy's daughter got killed in an automobile crash and
he ran out of the station. There were seven directors
on staff. I was the only one there. The GM
calls me, he said, okay, buddy, this is it. That's
what it means is you have to direct it, and
(11:56):
if you fuck it up, you're out. Yeah, I'm getting
through it. And then Al shattle Cat he has phone
up to the control room and the commercial. He says,
you're doing good, kid, just keep staying with it. And
I became a star because of that. And then what
happened was I was making like one hundred eighty five
(12:16):
dollars a week and I wanted to make ten thousand
dollars a year. I wanted two hundred bucks a week.
So I asked for a raise. I walked into his office.
He said, you know you're a good director, but you're
a great director, but you don't follow my rules. Your
hair is too long, you don't keep your suit jacket
on all the time, your ties dishoveled. I know your
(12:39):
hair is long and you're slicking it back, he said,
So I'm not going to give you the raise. Okay,
take it or leave it. I said, I leave it,
and I quit and I walked outside, and his waiting
room was a magazine called Broadcasting Magazine, and I saw
an in there for a station in Cleveland, Ohio that
(13:03):
wanted a director to do commercials. And it paid thirteen thousand,
five hundred a year.
Speaker 5 (13:10):
Wow.
Speaker 3 (13:10):
I drove up there and nailed it. Learned how to
do commercials, learned all about lighting during those years, and
you know, lightning's next to God, and I was there.
Speaker 2 (13:25):
We'll be back with more from Curiosity Storytellers Studio and
our conversation with Emmy nominated director Marty Kawanan right here
on Ruckus Avenue Radio.
Speaker 1 (13:41):
The world's most listened to South Asian radio and podcast network.
Speaker 2 (13:54):
Welcome back to Curiosity Storyteller Studio on Ruckus Avenue Radio
more with our guest, Emmy nominated director Marty Kollner.
Speaker 3 (14:04):
See.
Speaker 2 (14:04):
This is what I love about your essence as a
storyteller and your career is that after you had your
first taste of it, you have continuously, regardless of money,
regardless of can I do it, can I not do it,
(14:26):
leaned in to something each time, each level of your
career that you just felt would bring you joy, right,
and it is.
Speaker 3 (14:33):
I'm like Madonna. I kept reinventing.
Speaker 2 (14:35):
Myself something so original to you. And I want you
to tell people what happened next, because because a as a storyteller,
I don't want to get too much into the career pieces.
But as a storyteller, you went from live sports to
HBO and comedy specials. And comedy specials you kind of
(14:56):
blended at the same time with music specials and went
back into live music shows. And I think that when
we watch your story billing, story telling capabilities, you see
bits of all that. Would you tell them about you
went next to Boston to film. I'll tell you how
I got there.
Speaker 3 (15:16):
I had this friend from Cincinnati. All the directors there
went on their big careers. His name was Ron de Marias,
and he was working at WBC in Boston. He called
me when they said, Marty, the Celtics need a director.
There's an opening. I told them about you. Why don't
you come and meet them. I got in my car,
(15:37):
I put the pedal to the medal. I must have
gotten one hundred miles an hour. I got there and
there was this guy, Paul Koss, who liked me, and
then he said to me. I said, well, I love sports.
I'm a sports guy. I'm a baseball player. I said,
I'm not sure I can direct him. He looked me
in the eye and he said, you can direct anything.
Speaker 2 (15:57):
Wow.
Speaker 3 (15:58):
So I became the guy who directed the Celtics and
got a huge name because I would tell stories. I
would before games, I would do cold openings. I would
go in the locker rooms. This is before anybody did.
And my announcer was this guy named Dick Stockton, and
we started to get a lot of press. He was
(16:18):
freelancing for this company called HBO if They called me
and they said, will you do something for us? And
I said yeah, what's that? He said, we need somebody
to produce Wimbledon. I said Wibbledon tennis. He said yeah.
I said, damn right, I'll do it. So I did
that for three years. And then what happened was I
(16:41):
had two job offers. Yep, you know the story.
Speaker 2 (16:44):
I know the story, but I think you should tell everyone.
Speaker 3 (16:46):
Okay. I had one in NBC Sports to be the guy. Yep, okay,
to be the guy that would do the Super Bowl,
Kentucky Derby, NBA Championship, whatever they had wanted me to
be the guy.
Speaker 2 (17:02):
What was the other one, Marty?
Speaker 3 (17:03):
The other one was this little teeny company that for
a third of the money with seven people who said,
if you come to us, you can not only do
our sports, you can do our specials which haven't been
invented yet, and you can be responsible for the feel
and the ethos of the network. And I said, okay,
(17:27):
I'll take that. It was a third of the money,
and the first thing I did was an evening with
Robert Kline. I no idea what I was doing. Yeah,
And when I I wasn't perfect because I just was
going by my gut. And I turned it in to
my boss and he said this is terrible. You're fire.
I said, no, it's got magic. The head of HBO
(17:49):
of Time Life said this isn't our program, guy, we're
going to air it. I don't think it's so bad.
I said, I think it's pretty great. And The New
York Times wrote on January thirty, first, I was in
my hotel album I called my ex wife and I said,
you think I can get my job back in Boston
because I'm fired. The next day The New York Times
wrote four columns on it, and they said, I don't
(18:10):
know where HBO got Marty Calder, but they better boto
them up, sign them up forever. So the next day
I was signed to a contract for ten times the
money I was making and giving a series called On
Location for the first moment was George Carlin. Some stuff
(18:31):
I put in that to this day they honor was, Look,
if we're going to hire a creative person, we've got
to let them do their job, and if we don't
like it, we just won't hire them again. So at
least give them the chance to fail on their own sword,
not because of some bureaucrat that's sitting in an office
(18:53):
that feels that they need to justify their existence.
Speaker 2 (18:55):
I want to talk a little bit more about that,
but first I just want to I want to in
a little bit on this air of confidence, because it
was really your belief in your work that is part
of that magic. It shows up on the screen, but
it also showed up in your ability to continue to transform,
(19:16):
reinvent yourself, and move from one thing to the next.
And even from the early age you talk about how
you just knew that you had it. Where do you
think in your foundation that came from.
Speaker 3 (19:28):
Fear of failure? Hmm, okay, I live in the town
where you're only as good as your last project.
Speaker 2 (19:34):
Yeah.
Speaker 3 (19:35):
So I never tried to have an ego, and you
know I was. I made it conscious not to become famous,
even though I did. I tried not to because I
wanted to be with my family every night because I
didn't have one. So instead of going out with Madonna
or Justin Timberlake or Jerry Seinfeld for dinner and hiving
the paparazzi take me, I went home for dinner and
(20:00):
I thought, someday I'll be honored for a body of work,
and that's exactly what happened. My air of confidence is
I believe and I still believe that it doesn't leave
my hands until I'm happy with it. I edit everything.
I have an editor, but I edit everything, and if
I'm happy with it, the audience is going to be
(20:21):
happy with it. I don't do it for anybody but myself,
and I have to please me. And there were a
couple of times where I didn't please me and it bombed.
But every time that I was fastidious about this and
I made a lot of enemies, but everything went to
number one.
Speaker 2 (20:40):
I think it's so interesting how in life, when we
end up following our passion or art, we end up
with greater success, and when we try to chase whatever
career norms are, how it doesn't always work out. And
I think your career and your storytelling story not intended
is a testimon into that you just kept leaning in
(21:02):
to what you knew your art was and the world.
Speaker 3 (21:07):
It happened, spying me, pissing off every every er. How
I got into music videos was now I'm at HBO.
I'm gonna seven figure of your job. I own it.
And but I was getting a little bored.
Speaker 1 (21:23):
You know.
Speaker 3 (21:24):
I had done like big specials and all the big
comedy acts, and you know, and then I was laying
in bed in my house in Beverly Hills. I called
my boss, a guy named Michael Fuchs at HBO, and
I said, what about HBO West? He said, go for it?
So I opened up HBO West.
Speaker 6 (21:45):
No way.
Speaker 3 (21:47):
I moved out here, and I was getting divorced, and
I was raising my two children, and we got a
house on Saniel Sedro and that's how I moved to California.
Speaker 2 (21:57):
Okay, so you have been working across these three different formats.
Can you talk a little to how those early experiences
doing the comedy specials and then the music videos has
shaped the way that you approach even your storytelling now
on Hard Knocks? How is it? How does how does
(22:17):
I guess being exposed those different formats inform the way
that you you as a storyteller thing. Did you feel
the evolution as you were going through.
Speaker 3 (22:28):
I felt that. I don't really know the answer. Okay, okay,
I didn't think about it. It's just what came naturally.
That's a perfect I was in bed one day in
LA and I was making all this money on HBO
and there was this cable company called the Z Channel,
and they played this music video. It was Betty Davis's
(22:49):
Eyes Kim Carnes, directed by an Australian named Russell Mulchai. Yeah,
and I saw it. My eyes got like big as dollars,
sober dollars, and I like said, oh my god, look
at this is breaking every rule. It's crossing the line,
it's jump cutting, it's it's so artistic and different. And
(23:10):
I said to my wife, who I've been married to
a long time, who I love dearly. I said, Eliza,
I have to go do this. That means I have
to quit my job. That means we could lose the house,
we could be broke, we could live in a car.
I don't know what's going to happen. And she said
(23:30):
to me, go for it. All right, which is you
may have heard that before, but the way it's phenomenal
gives you. You know, they say behind everyman's a woman.
Well it's true. And she said, go for it. She
gave me permission to gamble our future. I went to
New York. I met a guy named.
Speaker 2 (23:56):
We'll be back with more from Emmy nominated director Marty
Kalner on Curiosity Storyteller Studio right here on Ruckus Avenue Radio.
Speaker 3 (24:06):
Blick, Hey guys, this is Beato Morea.
Speaker 5 (24:15):
Keep listening to the fabulous Rucus Avenue Radio on my
heart Bravedio.
Speaker 2 (24:26):
You're listening to Curiosity Storyteller Studio on Rugus Avenue Radio.
Now back to our guest, Emmy nominated director Marty Kllner.
Speaker 3 (24:38):
I went to New York and met a guy named
Alma Ernigan who would sign the Stones and sign so
who signed led Zeppelin, etc. Etc. And I said to
him I want to do a music video. He says,
what's that? And I explained, He's okay. I got three bands,
pick one, he said, I got a band name in
(25:00):
excess from Australia, which is excellent. I have a band
called Zebra from New Orleans. And I got this bar
band I don't know what the hell to do with.
He said, they're called Twisted Sister, and you know they're
funny and you know they're raucus. And I fear my
comedy and music background would make a perfect hybrid. So
(25:24):
I wrote this story and did this video. We're not
going to take it. And for the next twelve years
my phone never stopped ringing, no agent, no manager, no anything.
And then I got back into HBO because one day
my boss Michael Fuchs called me up. He says, I've
got a problem with an artist. I said, I need
(25:45):
an adult to go down there and fix it. Madonna,
And at this time Madonna was Madonna. This is the
girly show in Australia. Yeah, story, Sure, I went, I
fixed it and I did it and blah blah blah.
And then I just started doing shows for HBO again,
(26:06):
one after another, from Garth Brooks in Central Park, the
Middler to Timberlate in Sync, the Britney.
Speaker 2 (26:14):
Spears, and they were some of the most tremendous shows.
Can you can you help us and walk us through?
Like if you're approaching a comedy special in music, can
you walk us through your process of how you're breaking
it down.
Speaker 3 (26:26):
Okay, let's say music video. Yeah, first I'm sent a
song from the record company. Are you interested in this song? Yes, yes,
I'm interested. And then I have a blank piece of paper.
All right. I had to learn how to be creative
with this, because I'm saying with a blank piece of
paper and you know what am I going to do?
(26:49):
So I start brainstorming with my people that work for me,
you know what, how are we going to do this?
And eventually, after about a week, would start to come
up my idea and then developed the idea, develop the idea,
develop the idea, and then budget what it would cost,
and then go try and tell the record company this
(27:12):
is what we wanted to do. And I would hire
storyboard artists to do money boards that were so spectacular
that they couldn't say no. And come to the point where,
like my favorite videos has been called Living on the
Edge Dari Smith, so much stuff jammed in there. And
when I took it to the record company, say this
is great. What's going to cost? We said a million? Three?
(27:34):
See you out of your mind? Budget? Well yeah, back
then then there were there were some Yeah you go
out of your mind. I said, okay, I said, uh,
here's everything. You and the band decide what what you
don't want. And I was banking on them being creatively greedy.
(27:56):
Well we got to have him was getting hit by
a train, that's three hundred thousand, Well we got to
have him stealing the car. We gotta have this, we
gotta have that, we gotta have this. By the time around,
they wanted everything, so they bitch, but they paid and
then they all made a fortune. When I first met
Steven Tyler and Joe Perry, they had just finished a
(28:19):
video called Walked This Way with Run DMC. They were
living in two hundred dollars a month apartments had two
hundred dollars a week allowances. And I called up there
and our guy named John Kalodner, who I had just
done White Snake for It's a whole other story, and
I said, I want to work with these guys, said, well,
(28:41):
they're signed for three videos with this guy John Small.
I said, okay. Next day they were at my house,
all right, Steven Tyler and Joe Perry, and Steven Tyler
got on his knee and said, I want a house
like this. I said, by the time I'm done with
you you left ten houses like this, and that's what happened,
(29:01):
and we did it looks like a lady and from
that angel and went on and on and on and
on and on, and you know they all now have
ten houses and you know they're multi multi millionaires, and
I brought them back.
Speaker 2 (29:15):
I just want to talk a little bit. You talked
about that feeling of I have to do this, I
have to do this, and you've also talked a lot
about not focusing on results. For me, when I have
that feeling, I see something and I'm inspired and like
I have to do this, it's a mixed feeling of
absolute excitement and dread, like I'm half depressed and I'm
half excited because I know I have to do it,
(29:38):
and at the same time, I'm kind of I think
part of me is a little disappointed I haven't yet,
and then there's like the excitement around it. When you
talk about not focusing on results and you'll about having
those feelings, what is that about?
Speaker 3 (29:52):
Right? For me, It's all about the work. Okay, the
results will take care of themselves. Okay. If you're happy
with the work, you can't do anything about the audience
going to like it. Or not like it, and if
you try to figure it out, you're gonna fail. So
my focus was always about the work and putting my
head down one foot of time and just concentrating on
(30:15):
having all great moments. And if you look at my
videos to this day, there's not a bad frame in
any of them. Because the way people watch music videos,
where they wouldn't like sit down and stare at them,
they became a conversation and they look over and they'd
see a little piece, and they'd see a little piece,
but because they aired so many times, eventually they would
(30:37):
take the whole thing in.
Speaker 2 (30:39):
Yeah.
Speaker 3 (30:39):
So I just didn't want to hate anything. And if
I liked everything, they liked everything. And if I focus
on the results, you can't. You got to focus on
doing the work.
Speaker 2 (30:49):
I imagine, and I know personally as a creative that
that also can become crippling. Right, You have to kind
of at some point start to your point creating for
yourself and being proud of the moments you put out,
not wondering.
Speaker 3 (31:02):
About I'm always scared, Yeah, always.
Speaker 2 (31:10):
We'll be back with more from Emmy nominated director Marty
Kollner on Curiosity, Storyteller Studio Right here on Ruckus Avenue Radio.
Speaker 1 (31:24):
Rich.
Speaker 3 (31:27):
What's up?
Speaker 5 (31:27):
This is Rich and you're listening to Ruckus Avenue Radio
on iHeart Radio Radio.
Speaker 2 (31:44):
Welcome back to Curiosity Storyteller Studio on Ruckus Avenue Radio.
Now more with our guest, Emmy nominated director Marty Kallner. Say,
this is what I what I love about your essence
as a storyteller in your career is that after you
(32:05):
had your first taste of it, you have continuously, regardless
of money, regardless of can I do it, can I
not do it, leaned in to something each time, each
level of your career that you just felt would bring
you joy, right.
Speaker 3 (32:22):
And it is un like Madona, I kept reinventing.
Speaker 2 (32:25):
Myself something so original to you. And I want you
to tell people what happened next, because because a as
a storyteller, I don't want to get too much into
the career pieces. But as a storyteller, you went from
live sports to HBO and comedy specials. The comedy specials
(32:46):
you kind of blended at the same time with music
specials and went back into live music shows. And I
think that when we watch your storybelling, story telling capabilities,
you see bits of all that did you tell them
about you? Went next to Boston to film. I'll tell
you how I got there.
Speaker 3 (33:07):
I had this friend from Cincinnati. All the directors there
went on their big careers. His name was Ron dem Marias,
and he was working at WBC in Boston. He called
me when they said, Marty, the Celtics need a director.
There's an opening. I told them about you. Why don't
you come and meet them. I got in my car,
(33:28):
I put the pedal to the medal. I must have
gotten one hundred miles an hour. I got there and
there was this guy, Paul Cooss, who liked me, and
then he said to me. I said, well, I love sports.
I'm a sports guy. I'm a baseball player. I said,
I'm not sure I can direct him. He looked me
in the eye and he said, you can direct anything.
Speaker 2 (33:47):
Wow.
Speaker 3 (33:48):
So I became the guy who directed the Celtics and
got a huge name because I would tell stories. I
would before games. I would do cold openings. I would
go in the locker rooms. This is before anybody did.
Speaker 7 (34:03):
Yeah.
Speaker 3 (34:03):
And my announcer was this guy named Dick Stockton, and
we started to get a lot of press. He was
freelancing for this company called HBO. They called me and
they said, will you do something for us? And I said, yeah,
what's that? He said, we need somebody to produce Wimbledon.
I said Wibbledon tennis. He said yeah. I said, damn right,
(34:26):
I'll do it. So I did that for three years.
And then what happened was I had two job offers.
Speaker 2 (34:33):
Yep, you know the story. I know the story, but
I think he should tell everyone.
Speaker 3 (34:36):
Okay, I had one in NBC Sports to be the
guy yep, okay, to be the guy that would do
the Super Bowl, Kentucky Derby, NBA Championship, whatever they had.
They wanted me to be the guy.
Speaker 2 (34:52):
What was the other one, Marty?
Speaker 3 (34:53):
The other one was this little teeny company that for
a third of the money with seven people who said,
if you come to us, you can not only do
our sports, we can do our specials we haven't been
invented yet, and you can be responsible for the feel
and the ethos of the network. And I said, okay,
(35:17):
I'll take that. It was a third of the money
and the first thing I did was an evening with
Robert Kline. I no idea what I was doing, and
when I wasn't perfect because I just was going by
my gut and I turned it in to my boss
and he said, this is terrible. You're fire. I said, no,
it's got magic. The head of HBO of Time Life
(35:40):
said this is in our program. Guy, we're going to
air it. I don't think it's so bad. I said,
I think it's pretty great. And The New York Times
wrote on January thirty first, I was in my hotel room.
I called my ex wife and I said, you think
I can get my job back in Boston because I'm fired.
The next day the New York Times wrote four columns
on it, and they said, I don't know where HBO
(36:01):
got Marty Calder, but they better bollow them up, sign
them up forever. So the next day I was signed
to a contract for ten times the money I was
making and giving a series called on Location. For the
first moment was George Carlin. Some stuff I put in
(36:22):
that to this day they honor was, Look, if we're
going to hire a creative person, we've got to let
them do their job, and if we don't like it,
we just won't hire them again. So at least give
them the chance to fail on their own sword not
because of some bureaucrat that's sitting in an office that
(36:43):
feels that they need to justify their existence.
Speaker 2 (36:46):
We'll be back with more from Emmy nominated director Marty Kowner.
I'm Curiosity Storyteller Studio right here on Ruckus Avenue Radio.
Speaker 5 (37:00):
You're listening to Ruckus Avenue Radio.
Speaker 2 (37:14):
Welcome back to Curiosity Storyteller Studio on Rookus Avenue Radio.
You're listening to our interview with Emmy nominated director Marty Kowner. Okay,
we are going to get into our rapid our rapid
fire piece. So I do this rapid fire ish section
(37:35):
because when we develop worlds, when we develop characters, you
and I, it's really about understanding the perspective that laid
the foundation. We go through these exercises with characters, and
so this is a little bit about your character as
a storyteller. I asked you what your favorite song was,
and you had said Circles by post Malone was one
(37:58):
of several, but I picked this one. So let's listen
to a little bit. Okay, we all know how Circles goes. Marty,
(38:25):
what does that song mean to you? What do you
think of I think life.
Speaker 3 (38:31):
Is a circle, and I think that. You know, creativity
is a circle. And I thought it was beautifully presented
and I loved the music and it made me, made
me bop, and it was it just fed a lot
of things for me. You know, you know, I can't
(38:53):
really put my finger on why I.
Speaker 2 (38:55):
Like it, but it just Yeah, that's a perfect answer.
And I asked you what your favorite drink was, and
the first answer was diet coke.
Speaker 3 (39:03):
Diet coke.
Speaker 2 (39:03):
What does diet coke remind you of?
Speaker 3 (39:06):
Well, I don't eat sugar, so it's sweet, and I
don't drink, so it's non alcoholic. I don't do drugs.
I'm a vegan. And I can tell you stories about
all that all happened, because it's very interesting.
Speaker 2 (39:24):
We have time.
Speaker 3 (39:27):
But so this is a kind of like a.
Speaker 2 (39:32):
Good tasting great answer.
Speaker 3 (39:34):
Yeah, it's not very good for you. But when I
leave here, on the way home, I drink a bottle
of water.
Speaker 2 (39:41):
When I say the word home, what do you think of.
Speaker 3 (39:46):
Security? Love, happiness, purpose?
Speaker 2 (39:54):
What about the word heaven?
Speaker 3 (39:56):
Heaven? Yeah, heaven, that's the right word.
Speaker 2 (40:01):
What about you know, what about the so you think
of home when you say the word heaven.
Speaker 3 (40:05):
I think home is heaven Oh yeah.
Speaker 2 (40:08):
What about the word hell?
Speaker 3 (40:11):
Hell's everything else? I think show business is hell.
Speaker 2 (40:16):
What about your favorite food? Which one do you find
most comforting?
Speaker 3 (40:21):
I like sushi.
Speaker 2 (40:22):
Sushi. I love that.
Speaker 3 (40:24):
I have love sushi lunch on before I came, we
were here today.
Speaker 2 (40:27):
Oh sounds.
Speaker 3 (40:29):
I came a pescatarian. I was pure vegan, but I
was doing a Mark Anthony special and my doctor said,
you've got to get some proteins. Start eating fish. So
we run in the Bahamas and all there was was fish.
So yeah, I love sushi.
Speaker 2 (40:43):
What sound makes you smile?
Speaker 3 (40:47):
Your voice?
Speaker 2 (40:48):
Oh, thank you?
Speaker 3 (40:51):
The sound of music makes me smile.
Speaker 2 (40:53):
Yeah, me too. Yeah, Music's my first love. How do
you define love?
Speaker 3 (41:00):
That's an interesting question.
Speaker 2 (41:02):
It's supposed to be.
Speaker 3 (41:04):
Well, love's about respect. In my opinion, you have to
respect your partner, they have to respect you. And acceptance. Okay,
what happens is you learn to accept other people's faults
when you're in love. And I always tell my children,
and I said, listen, perfect marriages do not exist. Okay,
(41:27):
they don't exist, I said, but hold imaginary scale in
front of you. Put on what you like on one side,
and what you don't like on the other see what
weighs more? Okay, because men and women are different, but
they're all the same. And you know, love is about acceptance,
(41:47):
it really is, and about support. I mean it's complicated,
but you know I totally love my wife because you
have stuff I hate. Course, so do I do stuff
she hates. Oh yeah, But the core and the and
the respect and the loyalty is there. Nobody cheats, nobody
(42:12):
does anything like that. We're in it for the long haul.
So her friend and love his friendship.
Speaker 2 (42:17):
How about success? How do you define.
Speaker 3 (42:19):
Success one moment at a time?
Speaker 2 (42:21):
M see at What about failure?
Speaker 3 (42:26):
The worst, the worst feeling of all time? It's uh,
but you learn from failure, okay, which is good because
I always say you can make a mistake once, just
don't make the same mistake twice. Sure, and so failure
I look at as a learning experience, even though it
(42:46):
gives me a shock or problem like my gut. But yeah,
I mean I try not to fail. But I'm not
perfect to a human being.
Speaker 2 (42:57):
Do you believe in magic?
Speaker 3 (42:59):
One hundred? And that to me is the most important
thing that I bring to my project. I always make
them mess, Yes, you do? Oh my god?
Speaker 2 (43:11):
What about second chances.
Speaker 3 (43:13):
I'm down for that. I'm down for second chances. I've
had enough.
Speaker 2 (43:20):
Love it first sight.
Speaker 3 (43:22):
I've had it, even though not in the physical sense.
There's this actress I worked with, Alyssia Silverstone. I met
her when she was sixteen yea. She walked into my
office to read for a part in a music video
called Crime, which won Video of the Year, and I
knew that I was going to know where the rest
of my life. I loved her at first sight and
(43:45):
I'm still talking to her. I talked to her last night.
I'm going to the bed at her house. She's become
my family. My whole family loves her. It was love
at first I believe in love at first.
Speaker 2 (43:56):
Sight without considering time, ability or money is an opic.
What's one thing you've always wanted to do or learn?
Speaker 3 (44:05):
I'm about to do it. I want to do a feature, yes, okay,
and I know I'll be successful and I'm telling people,
but I wanted to. I've turned down many films because
when I would say, yeah, I need but I need
final cut, that throw me out and say you don't
get final cuts? You know. Share once asked me, how
come you don't do films. You can't afford it. I said,
(44:26):
that's one reason. But the other reason is, you know,
give me final cut. I'll take anything that last.
Speaker 2 (44:33):
But not least off the top of your head. What's
your favorite story?
Speaker 3 (44:41):
My favorite story I ever told?
Speaker 2 (44:43):
I think was on the Edge, Living on the Edge.
Speaker 3 (44:50):
A life. People just welcome.
Speaker 2 (44:56):
It's an epic, epic music video and one of my favorit.
I can also sing all the words for you on
the next episode. Martie Kelener, thank you so much for
joining us at Storyteller Studio. We are We are so
happy to have you, and we hope you come back
on so we can keep telling our stories. Next time,
(45:19):
we'll talk about me a little bit. I love you.
Thank you so much. If you're enjoying this conversation, make
sure you check out our YouTube channel and don't forget
to hit subscribe.
Speaker 7 (45:33):
Hey, everyone said chicll this is miss Pleasua Ruus Avenue Please.
Speaker 5 (45:40):
Rupus Avenue Radio station.
Speaker 2 (45:43):
Thank you so much.
Speaker 7 (45:46):
Radio say hey ba hinao Saina the comet cha sa
(46:13):
hey ba in the Aena Rat Cartizaena Ra Ladinata Sahiba Samander,
mariag m Mati, Jana Diado Rega you can't go out here.
(46:35):
I'm ratoga ji sorry.
Speaker 8 (46:41):
Reggae bat he made arbo.
Speaker 7 (46:46):
Very show him and Americans by American Room.
Speaker 6 (46:56):
How Jo Mara am My Kiscoba, Mari saib the Lena
Kaka samba and I was okay he do jada say
in living there Amada, the cartes, i Ena, the Raika Innada,
(47:39):
m h.
Speaker 7 (47:43):
Okasi Ballah song Joe the.
Speaker 8 (47:54):
Cook Shah did re come in hall.
Speaker 7 (48:03):
Amana a loc.
Speaker 8 (48:08):
Havvin badality deluc coo coush diricoil sorry ba to him
made up how to Ma.
Speaker 1 (48:30):
You're listening to Ruckus Avenue Radio, available now on the
free iHeartRadio app
You're listening to Ruckus Avenue Radio, available now on the
free iHeartRadio app.
Speaker 2 (00:11):
You're listening to Curiosity Storyteller Studio on Ruckus Avenue Radio.
Speaker 3 (00:19):
Out of HBO. Okay man and whispered in my ear,
there's nobody that I'd rather bet my five million dollars on.
The difference between making it and not making it is
razor thin. It's all mental. The consequences are gigantic. Jim
calls me. He says, Okay, buddy, this is it. You
have to direct it, and if you get up, you're out.
Speaker 2 (00:41):
Welcome to Curiosity Entertainment's Storyteller Studio. My name is Adrusha
and I create and write movies, music and television. Each week,
join me and my team as we talk to the
world's greatest storytellers in pursuit of the answer to the
question where do the best stories let's come from. In
today's episode, we're honored to welcome the legendary Marty Kellner.
(01:04):
Marty is an Emmy nominated director and the creator of
HBO's Hard Knocks. He's a legend and a transformative figure
in modern entertainment. Name is star across comedy or music,
and I promise you Marty has worked with them. Maybe
you've heard of some of them. Robin Williams, Chris Rock,
Will Ferrell, Billy Crystal, Jerry Seinfeld, George Carlin, Dane Cook,
(01:24):
Whitney Cummings, Stevie Nicks, Heart Kiss, Poison Rat, The Cranberry Scorpions,
White Snakes, zz Top, Bette Midler, Pat Bennettar Diana Ross, Justin,
Timberlake Fleetwood, mac Garth Brooks, Gladys Knight, Gloria Stefan, Mark Anthony,
to name a few. Today we peel back the layers
of Marty's illustrious career, exploring his unique perspective on storytelling,
(01:47):
his innovative approaches to directing, and the moments that have
defined his journey in the entertainment world. We'll discover what
drives his creative genius, how to remain relevant in ever
changing industry, and the stories behind the scenes. With some
of the biggest names in music and comedy, storytellers listening
close because Marty shares some real gems about life's success
(02:07):
and the choices we make that can forever change our
lives in an instant. Now, let's welcome Marty to the studio.
This episode was brought to you in partnership with Little
Black Tucks. Little Black Tucks is my go to when
I need a timeless look, whether I'm speaking on a
film panel, walking a red carpet, or need a bold,
sophisticated look for a photoshoot, Little Black Tucks has me covered.
(02:31):
Little Black Tucks isn't just a clothing company. They're a
company with a story, a strong why, and you know
I love a good story. They're breaking boundaries and creating
clothing that empowers women with versatile, upscale options. I love
my Little Black Tucks and I know you will too.
(02:52):
You're listening to Curiosity Storyteller Studio on Ruckus Avenue Radio.
We'll be back after these messages with more from our
Emmy nominated guest director, Marty Kllner. Yeah, you're listening to
Curiosity Storyteller Studio on Ruggus Avenue Radio. Now back to
(03:15):
our guest, Emmy nominated director Marty Kellner. Thank you for
being with us. Marty.
Speaker 3 (03:22):
I'm a huge fan of yours, and we met under
interesting circumstances and I was absolutely flattered when you asked
me to do this.
Speaker 2 (03:31):
You like me spend time growing up in Cincinnati a
town that I know can be. It's got a very
small town vibe even though it's a bigger city in
terms of the thoughts, the thought mechanics in the space.
(03:51):
It also can be really dreary for days on end.
It can rain and rain and rain, and you know,
food and the arts are kind of the only really
great things to do. And I know, for me, it
really spurned my imagination. How did spending time as a
child there really shape the way that you viewed the world?
Speaker 3 (04:11):
Well, I like being from there. I think growing up
in the Midwest gives you certain work ethic and certain
values that last your whole career. I don't think that
the taste makers are in New York and LA I
think they're in the Midwest. I agree, And it shaped
(04:33):
me because I was a latch key kid. My father
left when I was two. I never saw him again.
I don't know anything against him, because he gave me life.
And my mother used to teach me, you know, proverbs
and cliches which I said, don't tell me this stuff
every night, turned out to be the foundations for my life.
(04:56):
And she taught me, she said, a man who doesn't
build castles in the air doesn't build them anywhere.
Speaker 2 (05:02):
She was big on dreaming big, right. I heard you
say that before, and she taught.
Speaker 3 (05:06):
Me to dream big. You know. I always believe if
you can dream it, you can achieve it. When my
father passed, he was very very wealthy. We were very
very lower middle class, and I think our first house
costs like thirty four thousand dollars and she had a
big borrow and steel.
Speaker 2 (05:24):
You talk a lot about that about the contrast between
your father being oh, wealthy enough that buildings were named
after him, and as your mother growing up in Cincinnati,
being from a more middle class, lower middle class family
where you had forks and spoons that didn't match. The
contrast between those two environments. How do you think that.
Speaker 4 (05:46):
That's why I got my eye your world perspective because
on my house in Cincinnati there were pictures on the
wall of like ships from Kmart.
Speaker 3 (05:57):
It costs like three books. Yeah, and you know it was,
you know, tough. You know, my mother would actually steal
the Sweet and Low packs from the restaurants. None of
the somewhere matched. And when my father died, the family said,
oh my god, he's got this son. We'll get a
(06:17):
culture them up So the time between I was ten
and eighteen, I spent every summer in Chicago, and I
would go from what I knew, which I appreciated. All
of a sudden, I'd be in the penthouse of the
Drac Hotel with real Picassas, real Monaise, real Chagols.
Speaker 2 (06:37):
Wow.
Speaker 3 (06:38):
And I didn't realize it, but by us Moses, there
was a big difference. So when I first started directing,
I was hired because I made things beautiful. I didn't
know why, but that's why I developed an eye and
every woman star wanted to work with me because I
(06:59):
knew how to can look beautiful. But I didn't know how.
I knew to do this. It just came naturally.
Speaker 2 (07:07):
He will make you look, Yes, I will.
Speaker 3 (07:11):
I will. I know. I got to the point where
I wild DP my own videos because if I worked
the camera, I knew how to make them get when
I got to the editing room, i'd have more choices. Sure,
and because I shot it, and so I just was
a natural born storyteller. I used to tell stories in
(07:32):
school to get out of doing shit because I was
an artist who didn't realize it, and school, for me,
it was boring. So I didn't want to like go
do homework and algebra, so and make up stories to
tell the teachers. And they thought I was like cute
and they bought the stories, and that's how it kind
(07:52):
of started. And then when I would do all these
comedy specials, I'd always have a story open on them, okay.
And when I did music videos, I was the first
director who made them all narratives. My first video was
a band called Twisted Sister. Yep, We're not going to
take it, and it's a it's a story, okay. It
(08:14):
starts out with the story about rebellion, about a father
who was aggressive about his son playing music and his
son rebels and tosses metal window whatever. And I found
that I just did it. And my most successful videos,
like with Aerosmith, with Elyssia Silverstone who lives Tyler, we're
(08:35):
all love stories. Okay.
Speaker 2 (08:37):
So notice that I call them musicals, because your music
videos were the first to really employ story into them. Yes, well,
music videos like before.
Speaker 3 (08:48):
That, they were like performance videos, or they avant garde
art videos and crazy shots. And I did all that,
but I still told stories, okay, and it resonated, and
every video would like shoot to the top. So I
just kept doing it. I kept doing it every single video,
(09:09):
bon Jovie and Aerosmith Heart, and you know, I just
started becoming a storyteller. I really don't know how it happened,
I'd be quite honest. It's just a natural ability.
Speaker 2 (09:22):
Well. One of the things that you talk about, I
want to back up a little bit that I love
so much is when we talk about your journey. You
talk about not being so creative in grade school, and
I know you had a creative awakening that your mom
then pushed you towards interviewing at TV stations to possibly
get a job.
Speaker 3 (09:43):
Yeah, I was a bum. I was like drug taking, gambling, womanizing,
party animal. Excuse me. She was worried what's her son
going to be. She worked for a company called TV Guide,
and so she was familiar with the people at the
(10:06):
TV stations, and she introduced me to this guy named
Gus Bailey who liked me and gave me a job
as a prop man on the Nick Clooney Show, which
is George Clooney's father.
Speaker 2 (10:19):
Yeah, Cincinnatian.
Speaker 3 (10:20):
So I walked into this station and the first day
there was like all these lights and all this action.
There was a plane crash, and it was like applause signs.
I liked action, and I realized this is what I'm
supposed to do on day one, so they couldn't get
(10:41):
me out of there. And because when you find what
you love, you find what you love. And seven weeks
later I was directing. So it was like I got
lucky that I was put into an environment that I
belonged to and I just felt at home.
Speaker 2 (10:58):
And that first job directing, it happened because one of
the directors who was working on a show, he had
a tragic loss.
Speaker 3 (11:10):
Yes, in this particular station, there was all kinds of things.
There were sports, there were specials, there were talk shows,
but the most important thing was the news. And it
was a very tough task master named Al Shattlecottie. And
everything on the news was either a picture of videotape
or film or slide. There was no newscaster except going
(11:33):
in and out of the commercials. It was impossible to direct. Impossible.
This guy's daughter got killed in an automobile crash and
he ran out of the station. There were seven directors
on staff. I was the only one there. The GM
calls me, he said, okay, buddy, this is it. That's
what it means is you have to direct it, and
(11:56):
if you fuck it up, you're out. Yeah, I'm getting
through it. And then Al shattle Cat he has phone
up to the control room and the commercial. He says,
you're doing good, kid, just keep staying with it. And
I became a star because of that. And then what
happened was I was making like one hundred eighty five
(12:16):
dollars a week and I wanted to make ten thousand
dollars a year. I wanted two hundred bucks a week.
So I asked for a raise. I walked into his office.
He said, you know you're a good director, but you're
a great director, but you don't follow my rules. Your
hair is too long, you don't keep your suit jacket
on all the time, your ties dishoveled. I know your
(12:39):
hair is long and you're slicking it back, he said,
So I'm not going to give you the raise. Okay,
take it or leave it. I said, I leave it,
and I quit and I walked outside, and his waiting
room was a magazine called Broadcasting Magazine, and I saw
an in there for a station in Cleveland, Ohio that
(13:03):
wanted a director to do commercials. And it paid thirteen thousand,
five hundred a year.
Speaker 5 (13:10):
Wow.
Speaker 3 (13:10):
I drove up there and nailed it. Learned how to
do commercials, learned all about lighting during those years, and
you know, lightning's next to God, and I was there.
Speaker 2 (13:25):
We'll be back with more from Curiosity Storytellers Studio and
our conversation with Emmy nominated director Marty Kawanan right here
on Ruckus Avenue Radio.
Speaker 1 (13:41):
The world's most listened to South Asian radio and podcast network.
Speaker 2 (13:54):
Welcome back to Curiosity Storyteller Studio on Ruckus Avenue Radio
more with our guest, Emmy nominated director Marty Kollner.
Speaker 3 (14:04):
See.
Speaker 2 (14:04):
This is what I love about your essence as a
storyteller and your career is that after you had your
first taste of it, you have continuously, regardless of money,
regardless of can I do it, can I not do it,
(14:26):
leaned in to something each time, each level of your
career that you just felt would bring you joy, right,
and it is.
Speaker 3 (14:33):
I'm like Madonna. I kept reinventing.
Speaker 2 (14:35):
Myself something so original to you. And I want you
to tell people what happened next, because because a as a storyteller,
I don't want to get too much into the career pieces.
But as a storyteller, you went from live sports to
HBO and comedy specials. And comedy specials you kind of
(14:56):
blended at the same time with music specials and went
back into live music shows. And I think that when
we watch your story billing, story telling capabilities, you see
bits of all that. Would you tell them about you
went next to Boston to film. I'll tell you how
I got there.
Speaker 3 (15:16):
I had this friend from Cincinnati. All the directors there
went on their big careers. His name was Ron de Marias,
and he was working at WBC in Boston. He called
me when they said, Marty, the Celtics need a director.
There's an opening. I told them about you. Why don't
you come and meet them. I got in my car,
(15:37):
I put the pedal to the medal. I must have
gotten one hundred miles an hour. I got there and
there was this guy, Paul Koss, who liked me, and
then he said to me. I said, well, I love sports.
I'm a sports guy. I'm a baseball player. I said,
I'm not sure I can direct him. He looked me
in the eye and he said, you can direct anything.
Speaker 2 (15:57):
Wow.
Speaker 3 (15:58):
So I became the guy who directed the Celtics and
got a huge name because I would tell stories. I
would before games, I would do cold openings. I would
go in the locker rooms. This is before anybody did.
And my announcer was this guy named Dick Stockton, and
we started to get a lot of press. He was
(16:18):
freelancing for this company called HBO if They called me
and they said, will you do something for us? And
I said yeah, what's that? He said, we need somebody
to produce Wimbledon. I said Wibbledon tennis. He said yeah.
I said, damn right, I'll do it. So I did
that for three years. And then what happened was I
(16:41):
had two job offers. Yep, you know the story.
Speaker 2 (16:44):
I know the story, but I think you should tell everyone.
Speaker 3 (16:46):
Okay. I had one in NBC Sports to be the guy. Yep, okay,
to be the guy that would do the Super Bowl,
Kentucky Derby, NBA Championship, whatever they had wanted me to
be the guy.
Speaker 2 (17:02):
What was the other one, Marty?
Speaker 3 (17:03):
The other one was this little teeny company that for
a third of the money with seven people who said,
if you come to us, you can not only do
our sports, you can do our specials which haven't been
invented yet, and you can be responsible for the feel
and the ethos of the network. And I said, okay,
(17:27):
I'll take that. It was a third of the money,
and the first thing I did was an evening with
Robert Kline. I no idea what I was doing. Yeah,
And when I I wasn't perfect because I just was
going by my gut. And I turned it in to
my boss and he said this is terrible. You're fire.
I said, no, it's got magic. The head of HBO
(17:49):
of Time Life said this isn't our program, guy, we're
going to air it. I don't think it's so bad.
I said, I think it's pretty great. And The New
York Times wrote on January thirty, first, I was in
my hotel album I called my ex wife and I said,
you think I can get my job back in Boston
because I'm fired. The next day The New York Times
wrote four columns on it, and they said, I don't
(18:10):
know where HBO got Marty Calder, but they better boto
them up, sign them up forever. So the next day
I was signed to a contract for ten times the
money I was making and giving a series called On
Location for the first moment was George Carlin. Some stuff
(18:31):
I put in that to this day they honor was, Look,
if we're going to hire a creative person, we've got
to let them do their job, and if we don't
like it, we just won't hire them again. So at
least give them the chance to fail on their own sword,
not because of some bureaucrat that's sitting in an office
(18:53):
that feels that they need to justify their existence.
Speaker 2 (18:55):
I want to talk a little bit more about that,
but first I just want to I want to in
a little bit on this air of confidence, because it
was really your belief in your work that is part
of that magic. It shows up on the screen, but
it also showed up in your ability to continue to transform,
(19:16):
reinvent yourself, and move from one thing to the next.
And even from the early age you talk about how
you just knew that you had it. Where do you
think in your foundation that came from.
Speaker 3 (19:28):
Fear of failure? Hmm, okay, I live in the town
where you're only as good as your last project.
Speaker 2 (19:34):
Yeah.
Speaker 3 (19:35):
So I never tried to have an ego, and you
know I was. I made it conscious not to become famous,
even though I did. I tried not to because I
wanted to be with my family every night because I
didn't have one. So instead of going out with Madonna
or Justin Timberlake or Jerry Seinfeld for dinner and hiving
the paparazzi take me, I went home for dinner and
(20:00):
I thought, someday I'll be honored for a body of work,
and that's exactly what happened. My air of confidence is
I believe and I still believe that it doesn't leave
my hands until I'm happy with it. I edit everything.
I have an editor, but I edit everything, and if
I'm happy with it, the audience is going to be
(20:21):
happy with it. I don't do it for anybody but myself,
and I have to please me. And there were a
couple of times where I didn't please me and it bombed.
But every time that I was fastidious about this and
I made a lot of enemies, but everything went to
number one.
Speaker 2 (20:40):
I think it's so interesting how in life, when we
end up following our passion or art, we end up
with greater success, and when we try to chase whatever
career norms are, how it doesn't always work out. And
I think your career and your storytelling story not intended
is a testimon into that you just kept leaning in
(21:02):
to what you knew your art was and the world.
Speaker 3 (21:07):
It happened, spying me, pissing off every every er. How
I got into music videos was now I'm at HBO.
I'm gonna seven figure of your job. I own it.
And but I was getting a little bored.
Speaker 1 (21:23):
You know.
Speaker 3 (21:24):
I had done like big specials and all the big
comedy acts, and you know, and then I was laying
in bed in my house in Beverly Hills. I called
my boss, a guy named Michael Fuchs at HBO, and
I said, what about HBO West? He said, go for it?
So I opened up HBO West.
Speaker 6 (21:45):
No way.
Speaker 3 (21:47):
I moved out here, and I was getting divorced, and
I was raising my two children, and we got a
house on Saniel Sedro and that's how I moved to California.
Speaker 2 (21:57):
Okay, so you have been working across these three different formats.
Can you talk a little to how those early experiences
doing the comedy specials and then the music videos has
shaped the way that you approach even your storytelling now
on Hard Knocks? How is it? How does how does
(22:17):
I guess being exposed those different formats inform the way
that you you as a storyteller thing. Did you feel
the evolution as you were going through.
Speaker 3 (22:28):
I felt that. I don't really know the answer. Okay, okay,
I didn't think about it. It's just what came naturally.
That's a perfect I was in bed one day in
LA and I was making all this money on HBO
and there was this cable company called the Z Channel,
and they played this music video. It was Betty Davis's
(22:49):
Eyes Kim Carnes, directed by an Australian named Russell Mulchai. Yeah,
and I saw it. My eyes got like big as dollars,
sober dollars, and I like said, oh my god, look
at this is breaking every rule. It's crossing the line,
it's jump cutting, it's it's so artistic and different. And
(23:10):
I said to my wife, who I've been married to
a long time, who I love dearly. I said, Eliza,
I have to go do this. That means I have
to quit my job. That means we could lose the house,
we could be broke, we could live in a car.
I don't know what's going to happen. And she said
(23:30):
to me, go for it. All right, which is you
may have heard that before, but the way it's phenomenal
gives you. You know, they say behind everyman's a woman.
Well it's true. And she said, go for it. She
gave me permission to gamble our future. I went to
New York. I met a guy named.
Speaker 2 (23:56):
We'll be back with more from Emmy nominated director Marty
Kalner on Curiosity Storyteller Studio right here on Ruckus Avenue Radio.
Speaker 3 (24:06):
Blick, Hey guys, this is Beato Morea.
Speaker 5 (24:15):
Keep listening to the fabulous Rucus Avenue Radio on my
heart Bravedio.
Speaker 2 (24:26):
You're listening to Curiosity Storyteller Studio on Rugus Avenue Radio.
Now back to our guest, Emmy nominated director Marty Kllner.
Speaker 3 (24:38):
I went to New York and met a guy named
Alma Ernigan who would sign the Stones and sign so
who signed led Zeppelin, etc. Etc. And I said to
him I want to do a music video. He says,
what's that? And I explained, He's okay. I got three bands,
pick one, he said, I got a band name in
(25:00):
excess from Australia, which is excellent. I have a band
called Zebra from New Orleans. And I got this bar
band I don't know what the hell to do with.
He said, they're called Twisted Sister, and you know they're
funny and you know they're raucus. And I fear my
comedy and music background would make a perfect hybrid. So
(25:24):
I wrote this story and did this video. We're not
going to take it. And for the next twelve years
my phone never stopped ringing, no agent, no manager, no anything.
And then I got back into HBO because one day
my boss Michael Fuchs called me up. He says, I've
got a problem with an artist. I said, I need
(25:45):
an adult to go down there and fix it. Madonna,
And at this time Madonna was Madonna. This is the
girly show in Australia. Yeah, story, Sure, I went, I
fixed it and I did it and blah blah blah.
And then I just started doing shows for HBO again,
(26:06):
one after another, from Garth Brooks in Central Park, the
Middler to Timberlate in Sync, the Britney.
Speaker 2 (26:14):
Spears, and they were some of the most tremendous shows.
Can you can you help us and walk us through?
Like if you're approaching a comedy special in music, can
you walk us through your process of how you're breaking
it down.
Speaker 3 (26:26):
Okay, let's say music video. Yeah, first I'm sent a
song from the record company. Are you interested in this song? Yes, yes,
I'm interested. And then I have a blank piece of paper.
All right. I had to learn how to be creative
with this, because I'm saying with a blank piece of
paper and you know what am I going to do?
(26:49):
So I start brainstorming with my people that work for me,
you know what, how are we going to do this?
And eventually, after about a week, would start to come
up my idea and then developed the idea, develop the idea,
develop the idea, and then budget what it would cost,
and then go try and tell the record company this
(27:12):
is what we wanted to do. And I would hire
storyboard artists to do money boards that were so spectacular
that they couldn't say no. And come to the point where,
like my favorite videos has been called Living on the
Edge Dari Smith, so much stuff jammed in there. And
when I took it to the record company, say this
is great. What's going to cost? We said a million? Three?
(27:34):
See you out of your mind? Budget? Well yeah, back
then then there were there were some Yeah you go
out of your mind. I said, okay, I said, uh,
here's everything. You and the band decide what what you
don't want. And I was banking on them being creatively greedy.
(27:56):
Well we got to have him was getting hit by
a train, that's three hundred thousand, Well we got to
have him stealing the car. We gotta have this, we
gotta have that, we gotta have this. By the time around,
they wanted everything, so they bitch, but they paid and
then they all made a fortune. When I first met
Steven Tyler and Joe Perry, they had just finished a
(28:19):
video called Walked This Way with Run DMC. They were
living in two hundred dollars a month apartments had two
hundred dollars a week allowances. And I called up there
and our guy named John Kalodner, who I had just
done White Snake for It's a whole other story, and
I said, I want to work with these guys, said, well,
(28:41):
they're signed for three videos with this guy John Small.
I said, okay. Next day they were at my house,
all right, Steven Tyler and Joe Perry, and Steven Tyler
got on his knee and said, I want a house
like this. I said, by the time I'm done with
you you left ten houses like this, and that's what happened,
(29:01):
and we did it looks like a lady and from
that angel and went on and on and on and
on and on, and you know they all now have
ten houses and you know they're multi multi millionaires, and
I brought them back.
Speaker 2 (29:15):
I just want to talk a little bit. You talked
about that feeling of I have to do this, I
have to do this, and you've also talked a lot
about not focusing on results. For me, when I have
that feeling, I see something and I'm inspired and like
I have to do this, it's a mixed feeling of
absolute excitement and dread, like I'm half depressed and I'm
half excited because I know I have to do it,
(29:38):
and at the same time, I'm kind of I think
part of me is a little disappointed I haven't yet,
and then there's like the excitement around it. When you
talk about not focusing on results and you'll about having
those feelings, what is that about?
Speaker 3 (29:52):
Right? For me, It's all about the work. Okay, the
results will take care of themselves. Okay. If you're happy
with the work, you can't do anything about the audience
going to like it. Or not like it, and if
you try to figure it out, you're gonna fail. So
my focus was always about the work and putting my
head down one foot of time and just concentrating on
(30:15):
having all great moments. And if you look at my
videos to this day, there's not a bad frame in
any of them. Because the way people watch music videos,
where they wouldn't like sit down and stare at them,
they became a conversation and they look over and they'd
see a little piece, and they'd see a little piece,
but because they aired so many times, eventually they would
(30:37):
take the whole thing in.
Speaker 2 (30:39):
Yeah.
Speaker 3 (30:39):
So I just didn't want to hate anything. And if
I liked everything, they liked everything. And if I focus
on the results, you can't. You got to focus on
doing the work.
Speaker 2 (30:49):
I imagine, and I know personally as a creative that
that also can become crippling. Right, You have to kind
of at some point start to your point creating for
yourself and being proud of the moments you put out,
not wondering.
Speaker 3 (31:02):
About I'm always scared, Yeah, always.
Speaker 2 (31:10):
We'll be back with more from Emmy nominated director Marty
Kollner on Curiosity, Storyteller Studio Right here on Ruckus Avenue Radio.
Speaker 1 (31:24):
Rich.
Speaker 3 (31:27):
What's up?
Speaker 5 (31:27):
This is Rich and you're listening to Ruckus Avenue Radio
on iHeart Radio Radio.
Speaker 2 (31:44):
Welcome back to Curiosity Storyteller Studio on Ruckus Avenue Radio.
Now more with our guest, Emmy nominated director Marty Kallner. Say,
this is what I what I love about your essence
as a storyteller in your career is that after you
(32:05):
had your first taste of it, you have continuously, regardless
of money, regardless of can I do it, can I
not do it, leaned in to something each time, each
level of your career that you just felt would bring
you joy, right.
Speaker 3 (32:22):
And it is un like Madona, I kept reinventing.
Speaker 2 (32:25):
Myself something so original to you. And I want you
to tell people what happened next, because because a as
a storyteller, I don't want to get too much into
the career pieces. But as a storyteller, you went from
live sports to HBO and comedy specials. The comedy specials
(32:46):
you kind of blended at the same time with music
specials and went back into live music shows. And I
think that when we watch your storybelling, story telling capabilities,
you see bits of all that did you tell them
about you? Went next to Boston to film. I'll tell
you how I got there.
Speaker 3 (33:07):
I had this friend from Cincinnati. All the directors there
went on their big careers. His name was Ron dem Marias,
and he was working at WBC in Boston. He called
me when they said, Marty, the Celtics need a director.
There's an opening. I told them about you. Why don't
you come and meet them. I got in my car,
(33:28):
I put the pedal to the medal. I must have
gotten one hundred miles an hour. I got there and
there was this guy, Paul Cooss, who liked me, and
then he said to me. I said, well, I love sports.
I'm a sports guy. I'm a baseball player. I said,
I'm not sure I can direct him. He looked me
in the eye and he said, you can direct anything.
Speaker 2 (33:47):
Wow.
Speaker 3 (33:48):
So I became the guy who directed the Celtics and
got a huge name because I would tell stories. I
would before games. I would do cold openings. I would
go in the locker rooms. This is before anybody did.
Speaker 7 (34:03):
Yeah.
Speaker 3 (34:03):
And my announcer was this guy named Dick Stockton, and
we started to get a lot of press. He was
freelancing for this company called HBO. They called me and
they said, will you do something for us? And I said, yeah,
what's that? He said, we need somebody to produce Wimbledon.
I said Wibbledon tennis. He said yeah. I said, damn right,
(34:26):
I'll do it. So I did that for three years.
And then what happened was I had two job offers.
Speaker 2 (34:33):
Yep, you know the story. I know the story, but
I think he should tell everyone.
Speaker 3 (34:36):
Okay, I had one in NBC Sports to be the
guy yep, okay, to be the guy that would do
the Super Bowl, Kentucky Derby, NBA Championship, whatever they had.
They wanted me to be the guy.
Speaker 2 (34:52):
What was the other one, Marty?
Speaker 3 (34:53):
The other one was this little teeny company that for
a third of the money with seven people who said,
if you come to us, you can not only do
our sports, we can do our specials we haven't been
invented yet, and you can be responsible for the feel
and the ethos of the network. And I said, okay,
(35:17):
I'll take that. It was a third of the money
and the first thing I did was an evening with
Robert Kline. I no idea what I was doing, and
when I wasn't perfect because I just was going by
my gut and I turned it in to my boss
and he said, this is terrible. You're fire. I said, no,
it's got magic. The head of HBO of Time Life
(35:40):
said this is in our program. Guy, we're going to
air it. I don't think it's so bad. I said,
I think it's pretty great. And The New York Times
wrote on January thirty first, I was in my hotel room.
I called my ex wife and I said, you think
I can get my job back in Boston because I'm fired.
The next day the New York Times wrote four columns
on it, and they said, I don't know where HBO
(36:01):
got Marty Calder, but they better bollow them up, sign
them up forever. So the next day I was signed
to a contract for ten times the money I was
making and giving a series called on Location. For the
first moment was George Carlin. Some stuff I put in
(36:22):
that to this day they honor was, Look, if we're
going to hire a creative person, we've got to let
them do their job, and if we don't like it,
we just won't hire them again. So at least give
them the chance to fail on their own sword not
because of some bureaucrat that's sitting in an office that
(36:43):
feels that they need to justify their existence.
Speaker 2 (36:46):
We'll be back with more from Emmy nominated director Marty Kowner.
I'm Curiosity Storyteller Studio right here on Ruckus Avenue Radio.
Speaker 5 (37:00):
You're listening to Ruckus Avenue Radio.
Speaker 2 (37:14):
Welcome back to Curiosity Storyteller Studio on Rookus Avenue Radio.
You're listening to our interview with Emmy nominated director Marty Kowner. Okay,
we are going to get into our rapid our rapid
fire piece. So I do this rapid fire ish section
(37:35):
because when we develop worlds, when we develop characters, you
and I, it's really about understanding the perspective that laid
the foundation. We go through these exercises with characters, and
so this is a little bit about your character as
a storyteller. I asked you what your favorite song was,
and you had said Circles by post Malone was one
(37:58):
of several, but I picked this one. So let's listen
to a little bit. Okay, we all know how Circles goes. Marty,
(38:25):
what does that song mean to you? What do you
think of I think life.
Speaker 3 (38:31):
Is a circle, and I think that. You know, creativity
is a circle. And I thought it was beautifully presented
and I loved the music and it made me, made
me bop, and it was it just fed a lot
of things for me. You know, you know, I can't
(38:53):
really put my finger on why I.
Speaker 2 (38:55):
Like it, but it just Yeah, that's a perfect answer.
And I asked you what your favorite drink was, and
the first answer was diet coke.
Speaker 3 (39:03):
Diet coke.
Speaker 2 (39:03):
What does diet coke remind you of?
Speaker 3 (39:06):
Well, I don't eat sugar, so it's sweet, and I
don't drink, so it's non alcoholic. I don't do drugs.
I'm a vegan. And I can tell you stories about
all that all happened, because it's very interesting.
Speaker 2 (39:24):
We have time.
Speaker 3 (39:27):
But so this is a kind of like a.
Speaker 2 (39:32):
Good tasting great answer.
Speaker 3 (39:34):
Yeah, it's not very good for you. But when I
leave here, on the way home, I drink a bottle
of water.
Speaker 2 (39:41):
When I say the word home, what do you think of.
Speaker 3 (39:46):
Security? Love, happiness, purpose?
Speaker 2 (39:54):
What about the word heaven?
Speaker 3 (39:56):
Heaven? Yeah, heaven, that's the right word.
Speaker 2 (40:01):
What about you know, what about the so you think
of home when you say the word heaven.
Speaker 3 (40:05):
I think home is heaven Oh yeah.
Speaker 2 (40:08):
What about the word hell?
Speaker 3 (40:11):
Hell's everything else? I think show business is hell.
Speaker 2 (40:16):
What about your favorite food? Which one do you find
most comforting?
Speaker 3 (40:21):
I like sushi.
Speaker 2 (40:22):
Sushi. I love that.
Speaker 3 (40:24):
I have love sushi lunch on before I came, we
were here today.
Speaker 2 (40:27):
Oh sounds.
Speaker 3 (40:29):
I came a pescatarian. I was pure vegan, but I
was doing a Mark Anthony special and my doctor said,
you've got to get some proteins. Start eating fish. So
we run in the Bahamas and all there was was fish.
So yeah, I love sushi.
Speaker 2 (40:43):
What sound makes you smile?
Speaker 3 (40:47):
Your voice?
Speaker 2 (40:48):
Oh, thank you?
Speaker 3 (40:51):
The sound of music makes me smile.
Speaker 2 (40:53):
Yeah, me too. Yeah, Music's my first love. How do
you define love?
Speaker 3 (41:00):
That's an interesting question.
Speaker 2 (41:02):
It's supposed to be.
Speaker 3 (41:04):
Well, love's about respect. In my opinion, you have to
respect your partner, they have to respect you. And acceptance. Okay,
what happens is you learn to accept other people's faults
when you're in love. And I always tell my children,
and I said, listen, perfect marriages do not exist. Okay,
(41:27):
they don't exist, I said, but hold imaginary scale in
front of you. Put on what you like on one side,
and what you don't like on the other see what
weighs more? Okay, because men and women are different, but
they're all the same. And you know, love is about acceptance,
(41:47):
it really is, and about support. I mean it's complicated,
but you know I totally love my wife because you
have stuff I hate. Course, so do I do stuff
she hates. Oh yeah, But the core and the and
the respect and the loyalty is there. Nobody cheats, nobody
(42:12):
does anything like that. We're in it for the long haul.
So her friend and love his friendship.
Speaker 2 (42:17):
How about success? How do you define.
Speaker 3 (42:19):
Success one moment at a time?
Speaker 2 (42:21):
M see at What about failure?
Speaker 3 (42:26):
The worst, the worst feeling of all time? It's uh,
but you learn from failure, okay, which is good because
I always say you can make a mistake once, just
don't make the same mistake twice. Sure, and so failure
I look at as a learning experience, even though it
(42:46):
gives me a shock or problem like my gut. But yeah,
I mean I try not to fail. But I'm not
perfect to a human being.
Speaker 2 (42:57):
Do you believe in magic?
Speaker 3 (42:59):
One hundred? And that to me is the most important
thing that I bring to my project. I always make
them mess, Yes, you do? Oh my god?
Speaker 2 (43:11):
What about second chances.
Speaker 3 (43:13):
I'm down for that. I'm down for second chances. I've
had enough.
Speaker 2 (43:20):
Love it first sight.
Speaker 3 (43:22):
I've had it, even though not in the physical sense.
There's this actress I worked with, Alyssia Silverstone. I met
her when she was sixteen yea. She walked into my
office to read for a part in a music video
called Crime, which won Video of the Year, and I
knew that I was going to know where the rest
of my life. I loved her at first sight and
(43:45):
I'm still talking to her. I talked to her last night.
I'm going to the bed at her house. She's become
my family. My whole family loves her. It was love
at first I believe in love at first.
Speaker 2 (43:56):
Sight without considering time, ability or money is an opic.
What's one thing you've always wanted to do or learn?
Speaker 3 (44:05):
I'm about to do it. I want to do a feature, yes, okay,
and I know I'll be successful and I'm telling people,
but I wanted to. I've turned down many films because
when I would say, yeah, I need but I need
final cut, that throw me out and say you don't
get final cuts? You know. Share once asked me, how
come you don't do films. You can't afford it. I said,
(44:26):
that's one reason. But the other reason is, you know,
give me final cut. I'll take anything that last.
Speaker 2 (44:33):
But not least off the top of your head. What's
your favorite story?
Speaker 3 (44:41):
My favorite story I ever told?
Speaker 2 (44:43):
I think was on the Edge, Living on the Edge.
Speaker 3 (44:50):
A life. People just welcome.
Speaker 2 (44:56):
It's an epic, epic music video and one of my favorit.
I can also sing all the words for you on
the next episode. Martie Kelener, thank you so much for
joining us at Storyteller Studio. We are We are so
happy to have you, and we hope you come back
on so we can keep telling our stories. Next time,
(45:19):
we'll talk about me a little bit. I love you.
Thank you so much. If you're enjoying this conversation, make
sure you check out our YouTube channel and don't forget
to hit subscribe.
Speaker 7 (45:33):
Hey, everyone said chicll this is miss Pleasua Ruus Avenue Please.
Speaker 5 (45:40):
Rupus Avenue Radio station.
Speaker 2 (45:43):
Thank you so much.
Speaker 7 (45:46):
Radio say hey ba hinao Saina the comet cha sa
(46:13):
hey ba in the Aena Rat Cartizaena Ra Ladinata Sahiba Samander,
mariag m Mati, Jana Diado Rega you can't go out here.
(46:35):
I'm ratoga ji sorry.
Speaker 8 (46:41):
Reggae bat he made arbo.
Speaker 7 (46:46):
Very show him and Americans by American Room.
Speaker 6 (46:56):
How Jo Mara am My Kiscoba, Mari saib the Lena
Kaka samba and I was okay he do jada say
in living there Amada, the cartes, i Ena, the Raika Innada,
(47:39):
m h.
Speaker 7 (47:43):
Okasi Ballah song Joe the.
Speaker 8 (47:54):
Cook Shah did re come in hall.
Speaker 7 (48:03):
Amana a loc.
Speaker 8 (48:08):
Havvin badality deluc coo coush diricoil sorry ba to him
made up how to Ma.
Speaker 1 (48:30):
You're listening to Ruckus Avenue Radio, available now on the
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