Episode 747: Scarecrow in a Garden of Cucumber (1972)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Oh Gie is boot it show Die?

Speaker 2 (00:08):
People say good money to see this movie.

Speaker 3 (00:10):
When they go out to a theater.

Speaker 2 (00:12):
They want cold sodas, hot popcorn, and no monsters.

Speaker 4 (00:16):
In the protection booth, everyone pretend podcasting isn't boring.

Speaker 5 (00:20):
Got it off, Ody, We've given you everything you've ever want?

Speaker 6 (00:45):
How can you do this to work?

Speaker 3 (00:48):
Doctor Nighthouse, your own car, swimming pool?

Speaker 7 (00:51):
What more do you want?

Speaker 8 (00:52):
I want to be a star?

Speaker 9 (01:06):
Hello, Holy, then I ain't going to meet a real man.

Speaker 6 (01:29):
Richard Nixon is a lesbian.

Speaker 2 (01:32):
I didn't know what.

Speaker 7 (01:37):
Welcome to the Projection Booth. I'm your host, Mike White.
Join me once again as Miss Rain Alexander Hello, also
joining us for the first time as Miss Elizabeth Brashall Anyware.
We wrap up our month discussing hard to find, lost
and underseen films with a discussion of Scarecrow in a
Garden of Cucumbers. This is one of the few success
stories we have this month, as Scarecrow was thought to

(02:00):
have been lost for many years, but has since been
found and restored and will hopefully be available on Blu
Ray in June of this year. Scarecrow is the story
of Eve Harrington played by Hollywoodlawn, a young woman from
Kansas who comes to the big city and encounters a
whole lot of unusual characters who, like Eve, share names
with other film characters. I'm not sure if we can

(02:22):
spoil this film via our discussion, but we sure are
going to try so. If you don't want anything to ruin,
turn off the podcast and track down the movie. We
will still be here eating ice cream rain Was this
the first time watch for you?

Speaker 2 (02:34):
It was. I hadn't really even paid attention to its
existence until you brought it up today. I'm still singing
songs from it in my head, like It's I will
Lack successively in the coming minutes on this podcast.

Speaker 7 (02:49):
And Elizabeth, I know this wasn't a first time watching
for you. When was the first time you saw this?

Speaker 4 (02:54):
The first time I saw this film was three or
four years ago at this point. There's a film that
I've been aware of for a long time. I think,
either through Hollywood Blawn's memoir Low Life and High Heels,
or just researching her and blos films in general.

Speaker 1 (03:08):
A friend of.

Speaker 4 (03:09):
Mine was able to get a video transfer that was
done at some point in the eighties and snuck it
to me. When I watched it, it was like, Hollywood,
Liwn is wonderful, Tali Brown is wonderful. I don't know
about the rest of the movie, but I think that
was mostly just because of the poor quality. And then
when I finally got a chance to show the restoration,
I did a screening of it in early twenty twenty

(03:32):
three at Alma and Austin. That was when I really
fully clicked with me and I realized just how wonderful
the film is and how much it plays with an audience,
even now, all these years later.

Speaker 7 (03:43):
It's a really unusual film. It's interesting that Kelly Brown
is in this because it reminds me of another film
I think, probably the only other thing that I've seen
her in. I know she was in a few things,
but it reminds me a lot of brand X, the
Chamberlain film, and just that kind of out there stream
of consciousness feel to it. Though I have to say

(04:05):
that I think Scarecrow is definitely much more structured film,
and I don't know, it's fun and this.

Speaker 10 (04:12):
Movie is so much fun.

Speaker 7 (04:14):
Like you talked about watching it with an audience, I
can't even imagine watching this with an audience because just
in my own living room.

Speaker 1 (04:20):
I was like, Wow, this is great.

Speaker 7 (04:21):
There's some really good jokes in there, and I could
see had I seen this movie twenty thirty years ago,
I'd probably be quoting from it very regularly, just because
there are a lot of great lines to this one.

Speaker 2 (04:33):
Yeah, I agree with that. I really want to see
this in a group setting. There's so much going on
in many of the frames too, that I was glad
to be able to watch it a couple of times
before we got to record this podcast, because there's I
mean definitely things I missed the first time that I
had to stop and rewind a little bit. There's a

(04:53):
sequence where our heroin is looking for a roommate and
she ends up in one of the possible rooms and
the insufferable roommate steeds her a milk bone dog biscuit.
Oh my god, is that a milk bone dog biscuit?
Box freeze rewind and you know, just that little touch
is I mean, it's not even acknowledged that it's a

(05:14):
dog biscuit.

Speaker 11 (05:15):
Right.

Speaker 12 (05:15):
Yeah.

Speaker 7 (05:16):
There's a lot of stuff just going on behind the
scenes with this one, just.

Speaker 10 (05:20):
A lot of stuff.

Speaker 7 (05:21):
It's just a lot of odd things that it's doing.
You mentioned the roommates. The twins are great, and just
how they turn out to be like total manhunters, the
way that they're completing each other's sentences and everything. It's like, Okay,
I didn't expect this. They just seemed like such wholesome
American girls, but then they end up being like vicious
man haters. Do you think maybe you can help me

(05:42):
find a nice annoyingly.

Speaker 6 (05:47):
Oh man, men are nothing but little boys who's.

Speaker 8 (05:53):
Never grown up.

Speaker 13 (05:56):
They're selfish, evil, egotistical, all sex crazy and repressed. Man
this day and age, we are strengthening ourselves so we
can do the work any ten men people are handed
to quite an idea and join us in Wounds Women

(06:21):
Over then Rain Sunshine.

Speaker 1 (06:26):
Yeah.

Speaker 4 (06:26):
I think it's a film that's just so over eager
to please that it just minds every possible joke, even
if it's not funny. But because it's going at such
a rapid pace, even when they're not landing, they're also
landing a split second later, So it just seems like
the entire movie is walldwall funny, even if it's very
up and down at points, And it's something where I

(06:48):
just wonder how it originally was envisioned because like so
many of the guys, like the whole thing was missus
Miniver who's calling her throughout the film, or the thing
with the sausage order or the ice cream.

Speaker 1 (06:59):
Cone jokes, or like what was all that meant to be?

Speaker 4 (07:03):
And like how was this fixton post in a way
that just makes adds this layer of psychic disorientation to
it that makes it so much more enjoyable than it
probably was like initially intended to be.

Speaker 7 (07:14):
Brand Nicks reminded me of something very stream of consciousness,
though I know it probably wasn't. It just feels like
all of these pieces are interconnected. Like you mentioned the
ice cream thing, and at first I didn't even realize
that was going to be a running joke, but then
it ended up being a running joke and it just
keeps coming back and they keep playing with it. At first,
I was just like, Okay, this is going to be.

(07:36):
A young girl comes to the big city and quickly
gets disillusioned, Like there's the guy, can't remember if he
brings up her bags or no. He knocks on her
door very soon after she arrives, and she goes to
the Chelsea hotel after she's driven there by a foul
talking nun who is fantastic. But the guy who comes in,
he's just like, oh, yeah, I'm looking for the five

(07:56):
ninety five blowjob.

Speaker 10 (07:58):
And I was like, oh, geez, here we go.

Speaker 7 (08:00):
Oh she's going to be, you know, tempted into this
life of prostitute. No, no, she's not going to be
tempted into a life of prostitution.

Speaker 1 (08:06):
She's just going to.

Speaker 7 (08:07):
Find out who in this city gives five ninety five
blow jobs. That happens to be one of her best
friends apparently. And then it becomes the quest for the
roommate pretty soon after that, and that really takes up
the majority of the film, like I think, all the
way up until the end, when she finally finds an
old roommate. Who is that her brother Joe Buck the

(08:27):
roommate's brother, the one who reminds me of Natasha from
right right. Yeah, they're game ballwinkle Yeah. And then right
towards the end, it's like, oh, no, I'm done with
this city. I'm going to Hollywood. The city isn't good
enough for me. But along the way, it just the
base of everything. It never really takes a break which
I really appreciate.

Speaker 2 (08:48):
I mean, it does bring to mind a question why
didn't she go to Hollywood in the first place.

Speaker 7 (08:53):
Maybe her pantsless parents couldn't have handled that. Really, that's
the first joke of the movie, right when her parents
around and walk away and neither one of them are
wearing chants.

Speaker 4 (09:04):
And I will say, the original version of the film
that I saw all however, many years ago, which is
like a video transfer, was so bad you couldn't even
make out the fact that they're not wearing pants, So like,
the quality was so bad that the jokes weren't even there.

Speaker 2 (09:16):
What I love about cook portrayal, like, she really nails
this ingenu thing in a wave. It is very broad,
very slapsticky, but also it's almost believable even though we
all were we as a wise audience, you're seeing Hollywood law.
We know she's seen some things as the actual human being,
but you know she's got this joke early on about

(09:38):
the Chelsea Hotel. Sounds nice, right, So she gets a
room at the Chelsea Hotel, which apparently many people haven't
heard of. In the film, which is also very funny,
is immediately, as you say, got commissioned for fullatio from
five to ninety five, which okay, five ninety like there's
one with tax is this we're saying you're five ninety five?

(10:02):
She says no, she slams the door. She's not going
to do it. And then within two or three more
minutes she you know, we repeat a juke, but she
asks what's fellatio? And it's like it's a line. The
first time that I watched it, I do not catch
that at all. Like the second time, I'm like, oh
my god, she like actually has no idea. And I mean,

(10:24):
as something of a horn fit a genue myself in
my young years, how many times that I hadn't seen
in my own life where that feels very re isn't it.

Speaker 4 (10:33):
I do want to note that within place in five
ninety five is about forty five dollars, still a bargain.

Speaker 1 (10:39):
Yeah, Hollywood.

Speaker 7 (10:40):
Lawn's performance in this is just amazing. She pulls these faces,
like when she's in the back of that cab and
you just see all of the expressions on her face.
When the elevator doors open and there's the guy with
the gas mask and those crazy sleeves, I don't know
what's going on with that guy's sleeves. He looks like
he's just from a rocket ship or something. And you

(11:03):
see her as soon as the door's open, and she's
got this great scared look on her face, like super broad.
It's almost like she's acting in a silent movie, is
how broad her face gets sometimes with some of these looks,
or like when somebody calls up and she doesn't recognize
the voice and has these big eyes and stuff. I
love the physicality of her performance too, where running across

(11:23):
the street. There's a scene later on where she's running
and trying to find a phone booth and she just
keeps going from phone booth to phone booth. And she's
got I mean, she's got decent legs and everything, but
the way she runs, she looks like she's a chicken
or something.

Speaker 10 (11:35):
And I'm just like, the.

Speaker 7 (11:36):
Physicality that you are able to pull off is really nice.

Speaker 2 (11:40):
She's the translute seal ball.

Speaker 4 (11:42):
That doesn't say bugs funny, but I think both ways
work also. I think trans Blundson bugs onunny is kind
of an oxymoron me.

Speaker 7 (11:50):
Yeah, what do y'all think of those scenes where I
think it happened like two or three times in the
movie where the movie will just be playing and then
it feels like we go into a flashback or a dream.
I'm not exactly sure what it is. There's one point
where she's on the phone and she I guess it's
a fantasy, but it also kind of looks like a

(12:12):
flashback to her getting off of the bus and then
all of these people on these stairs and you have
these three kind of heavy women that all take off
their skirts. They've got these like pink skirts underneath, and
that kind of stuff happens at least two or three
times where we just kind of move into these sequences
and she'll still be talking over them, so it's not
like she's remember what do you make of those?

Speaker 4 (12:36):
No, That's what I was kind of saying, Like I
was wondering if that was stuff that just didn't work
and it was just their way of fixing it in
post or you know, how do we either make time
or how do we get this stuff in in a
way where it makes sense? Question Mark, I don't know,
it's such a weird narrative thing to do, it.

Speaker 2 (12:53):
Is, but I also think this really settled in with
the black and white the film Secrets, where you know,
she imagines herself as a Shirley Temple lesque character walking
up the stairs, which is actually just a very touching
and you know, just a kind of a raw moment,
like a very unexpectedly raw moment in this very broad

(13:15):
and goofy film. But I mean, I think, you know,
she's dealing with trauma here, like she's reflecting on traumas
the sequence to Lily Tomlin makes a off camera appearance
doing her operator character that we all became familiar with later.

Speaker 1 (13:32):
You know, that whole.

Speaker 2 (13:32):
Sequence, which is kind of this goofun this payphone idea
that they're making a joke out of, is backed by arguably,
as you know, sexual assault, which is kind of misty
and hard to discern why it's coming up, but it's
clearly this internal experience. And I mean, I think that
if we look at it from the strict narrative of

(13:55):
the film, these are the things that she's thinking about
why New York is not place for her. She's got
to go somewhere else. I mean, I think this is
how they all link together, these internal dialogues or internal monologues.
I guess I should say that she's experiencing and maybe
even just a little bit of disassociation and like who

(14:17):
amongst us, especially if your trans don't have a really
deep familiarity with dissociation.

Speaker 7 (14:24):
Yeah, I was trying to remember the sexual salt part
of it, because I definitely remember the little girl that's
going in there? Is that also the same sequence where
it's the musical number or that's all black and white.

Speaker 4 (14:37):
That's at the end of the acting school sequence. Hepia
sequence is the song that's sung by Bette Midler, who
I believe things multiple songs in the films.

Speaker 1 (14:47):
She does the title theme and Balini apps.

Speaker 10 (14:50):
That's right, it's called Strawberries or something.

Speaker 1 (14:53):
I think Strawberry is like back in line.

Speaker 7 (14:55):
It's pretty amazing just that it was Bette Midler doing
these songs all the way back then. You know, this
is really because I'm trying to remember when her first
album came out. I want to say it was seventy
two as well, But she was so involved in all
these different scenes, and especially like the artists scene. I mean,
when I was younger, it seems so strange to me

(15:17):
that she ended up mirroring one of the Kipper kids,
and I was like, well, that's such a weird combination.
You know, because I'm thinking of Bette Midler, like when
Beneath My Wings Bet Midler, rather than Divide Miss m
type Bete Midler, where I'm like, oh, okay, that makes
more sense, like really being into that, like Mondo New
York type scene, I'm like, all right, I get this now.

Speaker 2 (15:38):
She came up performing in the bath houses along with
Barry Manhelo and a lot of others. Looks like that.

Speaker 7 (15:45):
I can't get over how good this movie looks. It
is astounding. I mean, Elizabeth, you talked about how seeing
it in that shitty VHS version, just how much you
were missing, And I understand because I've seen a lot
of bad VHS transfers over the year. There's a lot
of bootleg stuff that you're just like, oh my god.
You know, I can barely make out the image to this,

(16:05):
But this restored version of it just looks so good.
And more than that, it sounds amazing. And those songs
that we hear throughout, especially the one that gets repeated
a few times where it's bet and I can't remember
the name of the singer, but a male singer going
back and forth. Those are amazing sequences. And yeah, the

(16:26):
sound and during that part, and I love that I
could hear every bit of dialogue. Like you said, Rain,
I had to go back and watch it a couple
of times, just because the jokes do come fast and furious.
I'm like, Okay, I missed that one before, I missed
that one before.

Speaker 10 (16:38):
I almost you know, I'm.

Speaker 7 (16:40):
Excited to buy the Blu ray of this because I'm
hoping there's some subtitle tracks on here, because that's how
I end up watching most of my movies these days,
because I miss so much.

Speaker 1 (16:49):
Yeah, and I will say too if you ever get
a chance to see it in the theater.

Speaker 4 (16:52):
The Academy to strike a brand new I believe all
photochemical thirty five milimeters print, so that exists as well.

Speaker 1 (17:00):
But yeah, I mean it's such a beautifully shot film.

Speaker 4 (17:02):
I think it's an early work by Paul Glickman, who
went on to work with Larry Cohen very heavily, along
with Radley Metzker. So I feel like you kind of
get like the gorilla shooting style of Larry Cohen and
then also just the lessness and the production design and
overload of like Radley Metsker in the film.

Speaker 7 (17:18):
Yeah, like those scenes in Central Park. It's such a
nice time capsule of what Central Park looked like back then.
But then yeah, seeing it with the beautiful colors, I mean,
those greens and everything just really stand out, and it
feels like we just filmed this yesterday and everybody looks.

Speaker 2 (17:38):
Like they're having so much fun. I mean, it was
such a joy to rewatch because of that, where I
you know, how many films do I see now that
look like they're actually fun to make? I don't feel
like that exists so much in current films, and it
made me yearn for that. It's what gives me so
much joy watching films from this time period, even when

(18:00):
their lower budget, when they've got the problems that come
along with a lower budget, they're.

Speaker 7 (18:05):
Trying some real different stuff.

Speaker 1 (18:07):
You know.

Speaker 7 (18:07):
I've mentioned CPA, tone, black and white. We've talked about
musical sequences. I mean, even like the introduction of Tally
Brown is Mary Poppins, The way she's being carried across
by all those men and the way she comes down
the stairs and all that. I mean, it's like taking
you know, a musical number and then slowing it down
and just showing like how much fun again, Like you said, Rain,

(18:29):
how much fun? She's having And yeah, everybody seems to
be just really tuned into this. Everyone who is in
this movie is just acting.

Speaker 10 (18:38):
At the storm.

Speaker 7 (18:39):
And I love this whole like melodramatic way that they
approach everything. And then just like the little stupid stuff
like how our friend so she's Eve, Then who's the
other one on Margo Channing?

Speaker 10 (18:54):
How she invites her out.

Speaker 7 (18:55):
To Central Park to for a boat ride and then
makes me Eve, you know, row the boat. It's just
like she can't catch a break, you know, she just
constantly is like the butt of the joke.

Speaker 2 (19:09):
It's because she's dresses like she watches Pat Boon records.
One of the things that I loved about the Mary
Poppins character, well, okay, a couple. One of them is
that she's the villain, right, seemingly one of the villains,
I guess, so Mary Poppins as a villain, but she
really prefigures Queen carl Wata from the John Waters universe

(19:33):
in so many ways, and it's impossible for me to
separate the two of them. You know, there's there's so
much of that same vibe. You know, maybe they would
be rival queens and some kind of whatever that version
of Manhattan is versus Mortville. I think that would be
a movie I would love to see.

Speaker 7 (19:51):
It's like a Man versus Batman, but a movie I
actually want to see.

Speaker 4 (19:55):
I mean, I feel like, as someone who lives in
New York, I feel like anyone involved in housing is
the old mcdylan. So I guess he's not technically a landlord,
but he is a broker.

Speaker 7 (20:05):
One and a purveyor of computer dating with her computer
system named Heathcliff. I have to imagine that that's a
Heights reference, because it feels like everybody in this movie.

Speaker 10 (20:16):
I mean, we've mentioned.

Speaker 7 (20:18):
Eve and Margo and Joe Buck and Mary Poppins, and
then at one point Eve is at a party and
she gets picked up by a man named rhtt Butler
an amazing use of split screen and then just doubles
and everything to have Holly playing both of those roles.
And I kept looking for there's one part where they're
standing there's a fan in the middle, and it's Holly

(20:42):
as rhet on one side and Holly is Eve on
the other side. I'm like, I don't see the scene.
I imagine it has to be that poll of the fan.
But everything looks really nice to me. This is, you know,
nineteen seventy two, this was made, and it looks terrific.

Speaker 2 (20:56):
Yeah, I agree, And I've been watching this film in
this historical moment. For me is amazing because I feel
like I'm really in my dual role era. I've seen
Sinners twice. I just saw Mickey seventeen. Finally, even the
most recent Black Mirror, the final episode of that is

(21:17):
a lot of dual roles. Everybody's doing dual roles now,
air acting with each other, you know, with them cells
which I'm just I'm.

Speaker 7 (21:24):
In love with, or our friends Bett Midler and Lily
Tomlin both in big Business.

Speaker 4 (21:29):
I mean, I was gonna say too, going off of
what you were saying a few minutes ago. It also
does prefigure Divine playing the dual role in Female Trouble.

Speaker 7 (21:36):
Yeah, and of course, you know, we've got the good
jokes in here about the cops, you know, like poor
Eve needs some help, and what happens. She gets tapped
by a cop who's just like, oh, I'm about to
make my first arrest of the night kind of. I'm like, yeah,
cops have always been bastards. Okay, yep, we got that,
and then the way that like Ret Butler turns into

(21:56):
a werewolf and then comes back later on at the end,
and again it's like, Okay, I didn't expect to see
this character come back, but sure enough. And then it
was so smart because then it's somebody in a mask.
We don't have to have Holly in that role.

Speaker 1 (22:10):
Again, well, it's interesting.

Speaker 4 (22:11):
There's that shot in that first sequence where it's like
a deep focused shot where you see've Bred in the
foreground making the drinks and then Holly in the background,
even the background, and it's funny with the quality of
the restoration, you can kind of tell that that's clearly
a sis woman or someone in a wig playing the
Eve character in the background, and then Holly as Rep.

(22:31):
Butler in the front.

Speaker 1 (22:33):
So this is really wonderful, like a genius filmmaking.

Speaker 7 (22:37):
I would love to know more about Tally Brown because
whenever she's on screen, she just shines, and that musical
act that she has is just fantastic. She just seems
like she would have been a real powerhouse.

Speaker 4 (22:50):
Roseadon Brownheim, the great German gay filmmaker, made a documentary
in nineteen seventy nine Clued Tally Brown New York and
it's a documentary portrait of Tally Brown, but like a
documentary portrait of New York and kind of how New
York is Tally Brown and Tally Brown is New York.
And one of my favorite sequences in the film is
it has a couple different sequences with Tally's friends and

(23:11):
lovers and acquaintances. And there's this one sequence that's shot
at Reno Sweeney, which was a famous cabaret bar in
the village of Manhattan, and we see Hollywoodlawn do her
cabaret act and then it's just the two of them
on stage together talking for about five or ten minutes
about how being a Warhol superstar was cool, but you know,

(23:32):
no one's gotten any money from it, and how you know,
it's just wonderful to seeing them talking. You know, I
guess six or seven years after the making of this
film together, neither of them ever really fully made it,
but they're kind of enduring. I mean, it's one of
the best documentaries I've ever made. But also just that
sequence alone, I think it's just really incredible.

Speaker 7 (23:51):
I'm definitely going to have to check that out. Yeah,
I would love to know more about her other than
Tally Brown seeing her in a few other things, and
you know, especially like said brand X, Sorry keep bringing
that one up. It just feels very like a spiritual
cousin to this film. I don't really recognize too many
people from the film other than David Margalace, who I mean,

(24:12):
he's the guy, surprisingly of all the people that are
in this he's the guy that most people will know,
and I think most people will know him maybe from Masventur,
but definitely from Ghostbusters, where he played the mayor. And
as soon as he comes on screen, even though it
is what twelve years before Ghostbusters, he just sticks out

(24:34):
like a sore thumb to me because I'm just like, oh,
I know this face, even with the longer hair and
the glasses. As soon as he starts to speak, I'm like, Okay, yeah,
this guy I know. And he is fantastic. His whole
acting class is wonderful and just the intensity that he
brings to all this and so many silly things happen

(24:56):
in this movie, such as the Native American guy who
can only say the word how.

Speaker 10 (25:01):
I can't really do much more.

Speaker 7 (25:02):
Than that, just playing the typical Native American with the
arms crossed and everything and then to find out. I'm
trying to remember which actor that is, but he plays
what like six roles.

Speaker 1 (25:12):
In the movie.

Speaker 2 (25:12):
I counted eight during the couple credits utility player.

Speaker 7 (25:17):
And I didn't recognize him from one thing to another.
I mean, I recognize the guy who comes to ask
for the five ninety five blow job is the same
guy as the matre d at the club that Margo's at.
But then I think maybe he's supposed to be the
same guy because he talks about the blowjob, and I
think they have a nickname for Margo that her name
is Bargain. I think that, so I'm thinking he's the

(25:39):
same dude. I mean, it's supposed to be the same characters.
What I'm trying to say, I.

Speaker 4 (25:44):
Think if only one of the eight characters ages badly,
then I think it's a pretty good batting average.

Speaker 7 (25:50):
Especially from nineteen seventy two. I mean, we didn't have
anybody in blackface, and even.

Speaker 2 (25:54):
The Joe buff character. You know this, there's getting back
to the heart affected this movie. So we've got sunny
Boy Hayes, who is actually a professional wrestler. He's a
little person, and we get to see a full wrestling match, right,
which is phenomenal. I think it was really thrilling, really great,

(26:15):
a great match in of itself. And you know, his
character is Joe Buck, and he's dressed like Joe Buck,
so he's got you know, he's pulling off that whole vibe.
He's courting our heroin and gets really close that he
gets rejected ultimately because she's leaving. They're okay, now I'm

(26:37):
a spoyl on the movie. You want to spoil the movie,
we're doing it. He gets rejected, but you know there's
no obvious bigotry going on here based on his height.
He's not a joke at all, which I thought was great.
And of course he gets it like, oh shit, I'm
really big rejected here, and you know he SLINKs off

(26:58):
and he's bummed out, and of course just like tears
at your heart a little bit because you know, he's
a good character, right, probably better than the John Voight
Joe Bucks. But in the end, right, I think it
was so easy for films of this era and of
this kind of tone to just be equal opportunity offenders,

(27:19):
you know, all this kind of thing. But this movie
has so much honesty at its core too, that just
makes it work in a way that I really did
not expect.

Speaker 7 (27:31):
Well, the day that they spend out together, that Joe
and Eve and then I guess it's Joe's manager and
manager's girlfriend. I guess it is the day that they
spend out in New York. A different film technique to
use this photo montage with this song going over it,
and the montage lasts for a long time, and it

(27:52):
just looks like they were having a blast going around
the village and it looks maybe like not Little Lialy,
but maybe Chinatown and they places, and I'm just like,
this looks like a great time. I mean, even when
they're in like amongst the meat see you know, I
guess it's a slaughterhouse they're in at one point, but
they're like, you know, in all these different delis with

(28:12):
fish and all this stuff. I'm like, Okay, looks like
you guys had a wonderful time. Looks like I would
like to be there, Like when they're going down the
dock and all kind of marching along with each other
and everything. Because we do eventually go from photos to
live action again, I'm like, this looks like you guys
had one of the best days in New York you
could have had.

Speaker 1 (28:32):
I just wonder what happened to those slides.

Speaker 7 (28:34):
Probably in a box someplace, and that they even have
title cards on screen, and you know, there's like the
opening one, but then during that kind of montage sequence,
there's another one that shows up and says one more time.
I'm like, that's really nice, you know the again, I
can't imagine the joy that you must have had in
the theater watching this with a whole group of people.

Speaker 12 (28:55):
Yeah.

Speaker 4 (28:56):
I mean, I think one of the other fascinating things
about this film is just that it's made by the
director who went on to make the Jaws parody Gums,
which is I think surely one of the least erotic
films ever made. And it's funny, Like I think there
is actually a through line that's another zany comedy. It's

(29:17):
another one that's just really, really outrageous. I believe did
you cover this on the podcast once.

Speaker 7 (29:24):
I wanted to watch Gums when we were doing Jaws,
but I didn't get around to it.

Speaker 4 (29:29):
Gums is about a killer mermaid who is biting the
penises off of men swimming in the ocean. The Quinn
character is played by brother Theodore, who is a full
on Nazi and in real life was a prisoner at
a concentration camp and is in the film playing and
honest to god Nazi. In the final reel of the film,

(29:50):
the characters just all become replaced by puppets for no
particular reason. It's a musical songs, and I think the
thing that's really funny about Gums Too is that there's
a softcore version of it which features cartoons drawn over
all of the naughty material. So instead of being a
blowdrop at someone's it's a Gums brand toothpaste, or it's

(30:14):
a major look like a toothbrush, or there's a crab
on top of an underwater scene. It's the same kind
of zany Robert Downey esque humor that you see very
much in Scarecrow, but really in a disgusting, knotty way.
The filmmaker also produced a film by Howard Goldberg called
Apple Pie, which is on twob and I highly recommend

(30:35):
checking that out too. It's another one like this that
has a really loose, shaggy New York sensibility to it,
and it ends with a fifteen minute long street dance
scene with original music by Hall and Oates.

Speaker 7 (30:47):
Is this pre smooth Hall of Oates. Is this like
the rougher edge of Hall Oates.

Speaker 4 (30:52):
I think this is like pre officially Hollen Oates. This
is like the John Hall and Darrel Oates band era
Hall and Oates. I think the thing that's exciting to
me about a film like Scarecrow is it's the one
where if you watch it and you like it, it can
really lead you into all these different pasts and places
that you never thought you would go into. And you know,
from this film, you get into the Jaws porn parody,
you get into other New York indies like apple Pie,

(31:15):
you get into the Warhol world, you get into Beat
Meddler and Lily Tomlin.

Speaker 1 (31:19):
And all this other stuff.

Speaker 4 (31:20):
It's really really fascinating and inspiring and exciting.

Speaker 2 (31:26):
The title being taken from a verse in Jeremiah, a
Bible verse in Jeremiah, which is still a little bit
perplexing as much as I've gone back and looked at
what's going on here? Why is this the title? But
it immediately linked to this other Beat Middler film called
The Thorn from right around the same time, which is

(31:46):
a lampoon on the Jesus story. And imagine team just
from from the Mighty Jumpstones. This is happening right now,
right yeah, just these like goog these goofy religious wampoons
that I think we're really emanating from this group of

(32:06):
people at this same time in that in the Thorn,
that mother plays Mary the Mother of Jesus, and that
film ends up being a much more it's more like
sketch comedy than Scarecrow is this says suggests that there'd
be a lot more religious content to this film than
there is. To my mind, we do have Mary Poppins

(32:30):
doing kind of a Sherman in Central Park, kind of
an extended sermon, and I'm still not entirely sure what
this is supposed to say about her. Is she a
fake evangelist who's putting on a show, or is there
some aspect of like her moralism which is making her
like a evil agent within this CD underground. You know,

(32:54):
like both of those realities seem possible to me.

Speaker 4 (32:59):
What crazy thing about the title is that if you
thought Scarecrounder Nickikumbers is a weird title for this film,
the original title that it was shot under is the
Sliding Pond.

Speaker 14 (33:08):
We're going to take a break and we'll be back
with a pair of interviews. First up, you're going to
hear from the author of Love You Medley Hollywoodlawn, Jeff Copeland.
After that, you are going to hear from the screenwriter
of Scarecrow and Garden of Cucumbers, Sandra Scopatone, and we'll
be back with both of those right after these brief messages.

Speaker 15 (33:34):
Hello everyone, this is Malcolm McDowell. I just want to
say that this is a request to listeners of the
Projection Booth podcast to become patrons of the show via
Patreon dot com p A T eo n dot com

(33:54):
slash Projection Booth.

Speaker 10 (33:57):
That's pretty simple.

Speaker 1 (33:58):
I think you can do that.

Speaker 15 (34:00):
It's a great show and Mike he provides hours of
great entertainment. So now it's time to give back my
little drovies. Settle down and take a listen and have
a sip of the old Molocco and then.

Speaker 1 (34:14):
You'll be ready for a little.

Speaker 7 (34:15):
Of the old in Out, in Out real horror show.

Speaker 10 (34:19):
Bye bye.

Speaker 7 (34:24):
I'm so curious about this new book. Why now, what
brought this new one to bear?

Speaker 12 (34:29):
Hollywood Lawn meant a lot to me because she was
the first person in Los Angeles to give me a chance,
to give me an opportunity to write. I wrote Love You,
Mady Hollywood Lawn because I didn't want to forget all
the outrageous absurdity that we experienced. My father had Alzheimer's

(34:52):
and I saw what that did to him, and so
I just wanted to create a record for myself, just
so it was still fresh in my memory. This was
back in twenty sixteen. I had spent thirty years in
television and my career was winding down. And I remember
sitting in my living room in Los Angeles, and I

(35:14):
was just sitting there with a glass of wine and
thinking about the last thirty years and all the shows
I worked on and all the wonderful celebrities I met,
and nothing compared to the magical whirlwind that I experienced
with Hollywood Lawn. It was just rich and so much fun,

(35:35):
and there was so much joy that I started writing
it down. I just started jotting down notes, just random notes,
and then when I got to one hundred pages, I thought, well,
maybe this would be an interesting magazine article. But then
I got so much going on I thought, well, Jesus Christ,
surely this is not a book. What's this going to

(35:56):
be a novella? What the hell am I working on
our short story? But that just kept pouring out out
and then before you know it, I had four hundred pages.
Now I should explain that I wrote about one hundred
pages back in twenty sixteen, but it wasn't until covid HIT.
I had left Los Angeles. I'd moved back to the
boondocks in the Midwest to take care of my parents,

(36:21):
and then covid HIT. I moved here in twenty nineteen.
Covid HIT shortly after, and I was on lockdown, and
that's when I picked it up again. And you know,
the world was in a state of chaos. It seemed
everything was just so awful. So I just retreated into
the nineteen eighties and I stayed there for a good year.

Speaker 7 (36:41):
Was all this from memory or had you kept diaries
of this? Because the details are fantastic.

Speaker 12 (36:46):
A lot of the memories were just indelibly burned into
my brain because they were so vivid and so colorful.
I mean, I would never forget how I met Hollywood,
but I'd never forget the parties we went to once
a low life and how yeals came out there were
certain things I would never forget. I would never forget
the fact that she disappeared and then I had to

(37:10):
find an apartment for her. There were just things that
were just so crazy. I also had a scrap book
filled with pictures. I had like five boxes of archive
materials with notes and not really diaries, but receipts from restaurants,
from my taxes, mileage logs, cars and letters. Oddly that

(37:35):
like I had written to my great aunt Dorothy, and
then after she died, her daughter sent them all back
to me. And those were a wealth of material cards
that I had sent to my parents that I found
when I was liquidating their estate, you know, letters to
my sisters with all this information and now basically those

(37:57):
served to give me more detail. But overall I pretty
much remembered everything. I remember the party we went to
where there was another writer, jonesing for the project. There
are some scenes like that party scene there. I can't
even say the word algamations.

Speaker 10 (38:17):
Amalgamations, that's it.

Speaker 12 (38:20):
It's my side that hadn't speak anyway. Yeah, so I
would combine say, three parties into one. That horrible person
that approached us and gave us so much attitude was
actually at a different party. There was so much material
and it was so fragmented. What I did. I just
had to put it into a cohesive structure. And who

(38:43):
cares if that asshole was, you know six months later?
You know, I just put them up because it just
made for a better scene and proved the point that
was the night Holly and I bonded, you know, was
that that first second part They all blur together.

Speaker 7 (39:02):
What is your process when it comes to writing books?
Because it sounds like you did a lot of interviews
with Holly, had audio tapes of those, but then for
this one, you've got your own receipts, like literally your
own receipts. But what's kind of your typical method of
approaching a project?

Speaker 12 (39:20):
Forgot to mention, I also have audio tapes of me
and Holly working. I have video of his working together,
and I have all our audio tapes, well most of
them of us working together. But my process is a
real pain in the ass, okay, because writing to me
is so arduous. I call myself a rewriter more than

(39:41):
I'm a writer. And what I'll do is I'll sit
down and I'll just bang out the scene, maybe three
or four pages, right, and then I got to go
back and I'll go back over that ten times. I mean,
I just wrote it an essay for the DVD release

(40:02):
of Scarecrow and a Garden of Cucumbers, which we're going
to talk about so hard. Thank god they loved it
when it was done. But my thought process is all
fucked up. I mean, thoughts come from all different directions
and I put them down and they don't make a
damn bit of sense. And then I got to restructure

(40:22):
them and figure out, well, this is going to go there,
and that's going to go there, And what the hell
kind of point are you trying to make here?

Speaker 16 (40:28):
It?

Speaker 12 (40:28):
What is your overall intent? What is this paragraph about?
That kind of horseshit?

Speaker 10 (40:34):
Well, you mentioned.

Speaker 7 (40:35):
Scarecrow, and I told you before we started recording that
it's been a minute since I've read Low Life and
High Heels.

Speaker 10 (40:41):
Can you tell me a little bit.

Speaker 7 (40:43):
Of where Holly was in her career when that movie
came about.

Speaker 12 (40:46):
Oh, Scarecrow and a Garden of Cucumbers. Oh, yes, we
write about it and Low Life. So Holly had finished
Women in Revolt and she was hired to do Scarecrow
in a Garden of Cucumbers director and the producer really
they loved Holly and they felt like she really was
the only person who could do that role because she

(41:07):
had a sense of vulnerability that I guess a lot
of people didn't have or show at that time. When
it came to the trans performers, Holly was basically a mess.
I mean, she wasn't grounded. The producer and the director
they paid her money to be in the movie, and
they got her situated at the Chelsea Hotel so she

(41:30):
had a place to live. She had some stability. Because
Holly never.

Speaker 10 (41:35):
Had a home.

Speaker 12 (41:36):
She was always CouchSurfing, you know, she was all over
the pork and then she was always drinking and then
she'd run off and do speed. You know, she was
running around with that whole underground theater bunch in New
York and she was just unhinged. So they moved to
the Chelsea and Holly is thrilled. She's got a party

(41:59):
or ass off. They shoot the first scene in a
tavern and Holly, you know, there's a lot of waiting
around on a movie. You can have a twelve hour
shoot day and you're waiting more for most of it. Well,
she got bored. It's a tavern, there's a fully stocked bar,
so she starts hitting the bottle. She got totally loaded.
And that night when they're driving her home, she freaked

(42:23):
out and jumped out of the car into traffic and
started sobbing hysterically. I mean, she was just as good.
Bless her right now. The reason why I can tell
you all this is because I just read all that
material again for my essay, so it's fresh in my head.
But and I could see in Scarecrow where she was

(42:46):
a little off, because what happened was they realized they
had a problem, okay, and it was decided that Holly
should move out of the Chelsea because she was partying
there too much their friends. She spray painted the terrorist gold.
She was just off the hook, and they moved her

(43:07):
in with the screenwriter Sandra Scopitone. Believe that's how you
see her name, because they felt, according to Holly, they
felt that Sandra would be a good influence on her
because Sandra didn't drink. So Holly stayed there and they
continued the movie and it all would really smooth after

(43:29):
that first episode. But then filming wrapped and Holly moved
back to the Chelsea. By this time her young boyfriend
Johnny had come back into the scene, and that was
just a lot of drama. Holly God, she's so crazy.
So they went back to the Chelsea and they started

(43:52):
boozing and balling and blew through all her cash, of course,
and then she had to go. I guess she moved
to Alphabet City and started, you know, instead of taken
acting lessons, she took up heroin.

Speaker 7 (44:05):
For so long it was impossible to see. Did you
have problems when you were doing your own research being
able to see everything that she was in?

Speaker 12 (44:14):
Oh? Yeah, we couldn't see anything. I mean, the only
film that was available that we had access to was Trash.
I don't think Women in Revolt was out yet, and
if it was, we couldn't get it at the video store.
You know, this is free Internet. You couldn't just go
on Amazon and order it. We had to run around
and go to the various video stores and Trash was

(44:35):
the only one we could find. So yeah, it was
a challenge. And that film, as I understand, it was
lost in a vault. So very exciting that the Academy
chose to restore it.

Speaker 7 (44:49):
The stories that you tell in this new book are
just amazing, And I can't even imagine how you handled
that big of a personality and and that difficult sometimes
of a personality. I mean, you're doing things like getting
her job, getting her place. You have to find a
place that allows pets, because she's got this precious dog

(45:10):
that she just gives away at some point and you're like, oh, her.

Speaker 12 (45:14):
Baby, I know, how do you forget that? Shit? Like
I said, it's like so ingrained in my memory because
I really think I was traumatized. If you were the truth.
It was such a challenge. I loved Holly dearly when
we were working together on a Low Life and High Heels.

(45:35):
I considered Holly my best friend very close. But it
didn't come without his challenges. And the biggest challenge was
it Holly drank. That was her big vice. She was
an alcoholic. She loved white wine, Glenn Allen. That was
the brand that she bought all the time at the

(45:57):
West and West Hollywood, the Los Angeles Pavilions, Hancock Park.
That's we live close to there, you know, she told
me in the book Kuipa say is the only French
you needed to know because she loved that that mind,
but she couldn't afford it four dollar bottle of jumbo
sized bottle of Gwenellen.

Speaker 7 (46:14):
And to think that you're working a full time job
at the same time exactly.

Speaker 12 (46:19):
And that's what actually made it all so special is
because there were just so many crazy like, you know,
we ate off an ironing board, We were poor. It
was one debacle after another. And then Holly, you know,
she gets her job at Wacko and she's only there
a few weeks and decide she's got to go on vacation.

(46:41):
It takes off to Europe. I mean it was insane.

Speaker 7 (46:44):
Yeah, Like I said, you're working full time job, you're
getting occasional other gigs. You know, it's writing script here,
writing a piece there, and it's just I mean, what
happens after that, Like do you blossom? Do you become
like the production assistant to the star, and just like
take off from there? Because there's I'll be honest, there's
many Jeff Copeland's on IMDb, and I think at least

(47:06):
two of them are you.

Speaker 12 (47:07):
There's one that's me and my credits aren't even complete.
I'll tell you what happened is I wound up broke
okay on the verge of being penniless, and I had
to start all over, right. I was thirty years old,
and I wound up working on a PBS series that
starred Jeff Gobelin that was called Future Quest, and they

(47:29):
needed a receptionist and I landed that job, and I
decided that I was going to be the best receptionist
they'd ever seen, because you know, I'd worked at Paramount
for three years. I'm not sure if you get that,
but I worked her Amount for three years, and I
worked my ass off and I couldn't get out of

(47:52):
that production assistant Trench. I mean, I was either a
production assistant or I was a writer secretary. I didn't
want to be a writer secretary. I didn't want to
be an assistant. I wanted to be a writer, or
at least a producer. And so I got this job.
Thirty years old. I'm at the bottom of the heap
once again. I get my job as a receptionist. And

(48:16):
the executive producer, Kathleen French said to me three months
into my gig, she says, you know you're too smart
to be answering phones. We're going to make your production coordinator.
And there was another producer there. Her name was Debbie Reid,
and basically Kathleen French and Debbie Reid took me under

(48:38):
a wing and they showed me how to coordinate productions
all over the world for this high folutant science documentary series,
very high quality, and I mean, I'm working with all
these brains, these wonderful people, these great producers, award winning ppo.
And so what happened was Debbie red landed another series

(49:02):
and she took me over to that series, and it
was another science series. It was a documentary series for
the Discovery Channel. And so I just kind of like,
you know, hopped from being a receptionist to a production
coordinator to a production manager. Then I became a segment producer,

(49:23):
then a field director, and then a writer producer and
then a supervising producer. And it's just it kind of
like skyrote, you know, it's kind of like climbed the
hard way. I mean, I started the bottom and worked
my ass off. It was Tara Sandler and Jennifer Davidson
at Pigtown Productions who actually gave me the opportunity to write.

(49:45):
They were my first writing job I was working on.
It was a travel show, two travel shows for the
Learning Channel. This is back when the Learning Channel was
actually about learning only TV hadn't come in yet. It
was on the horizon, but it hadn't taken over like

(50:07):
it has now. You know, back then everything was scripted.

Speaker 10 (50:10):
I mean, you didn't sleep your way to the top, Jeff, Come.

Speaker 12 (50:12):
On, I know I should say that I did, because
it would be so much more colorful and interesting. Actually, yeah,
so I got to work on that.

Speaker 1 (50:22):
Who can I say?

Speaker 12 (50:23):
I slept with Shelley Winners. Okay, I met Shelley Winners
in the supermarket. My favorite Hollywood story.

Speaker 1 (50:30):
This is no joke.

Speaker 12 (50:32):
I'm in Ralph's Supermarket in Beverly Hills and I'm standing
in the express lane and this little disheveled woman turns
around and looks at me and says, she a little
plastic bag of nuts. And she says, Honey, can you
open this bag of nuts for me? Plastic has ruined
the world. And I didn't recognize her face because she

(50:53):
looked like a homeless person. That I recognized her voice
and I'm thinking, holy shit, this is Shelley Winners. And
I have got a horror script that I've written that
is perfect for her. Long story short. I told her
about my script and she invited me over to her
house to bring it over and chat, and then I,

(51:15):
you know, fucked her bug eye and the rest is history.
You're bringing out the worst in me, Mike. She was wonderful. Yeah,
I never did that. I would never fuck my weight
into anything, but it's sure it's the think that maybe
I could.

Speaker 10 (51:30):
So you're writing more scripts?

Speaker 7 (51:32):
Are you reading other books after you write Low Life
in High Heels?

Speaker 12 (51:36):
I never wanted to write a book. That was never
my ambition. Once Low Life was done, I was working
on my Discovery Channel show Right. I'd gone on a
rogue trip to do a shoot and Mammoth Right, and
I was with my executive producer Dana Milliken, and Debbie read.

(51:57):
We we're all driving back. It's a law drive. And
when we and Dana were talking about our childhoods, sharing
experiences of what it was like growing up in a
redneck environment, and we just laughed our asses off. Long
story short, she said, Jeff, that has got to be
your next screenplay about your childhood. So I did. I

(52:17):
wrote this script. It was called The Long Haired Depression,
and it took about six years for it to get
any sort of attention. But eventually what happened was Madonna.
Madonna optioned it, she gave me a deal on it.
That script went to Whitney Houston's company as a writing
sample because she needed a writer or I think it

(52:38):
was Sleeping Beauty, And so I was submitted. And what
happened was Steve Lappek, who was her development guy, he
called my agent and he said, you know, Whitney had
a drug problem. They weren't talking about it, but you
know she wasn't in shape to make Sleeping Beauty. And
he said to my agent, do you mind if I
take this to Madonna? So my agent called me and says,

(53:00):
is this okay? He takes it to Madonna and I'm like, well,
fuck yeah. Because Madonna was, you know, fresh off of
a vita by this, you know, she was just a force.
So Madonna read it. Her manager, Caurice Henry loved it,
and Carise Henry and Steep Lappett partnered up to produce it.

(53:23):
And that wasn't the only stro I wrote. You know
a handful of scripts. What happened is they all wound
up and development hell, the joy of development.

Speaker 5 (53:33):
Hell.

Speaker 12 (53:34):
So what my goal is, I'm going to take every
script and now I'm going to novelize it. So I'm
in the middle of the long haired depression right now.
That's what it's called longer depression. And that keeps me busy.
But that is hard.

Speaker 7 (53:49):
You talk about those moments where you catch other people
looking askance at Holly and just not knowing how to
deal with a trans person in the late eighties, early nineties,
and I mean, I so wonder what hollywould be like now,
Like if she was a presence now, could she even

(54:11):
make it in today's world with the alcoholism or what
would you think a Hollywood lawn in twenty twenty five
would be like?

Speaker 12 (54:20):
I don't know, because Holly was inconsistent and her acting ability.
I mean, I saw Holly in the film Milwaukee, Minnesota
with Josh Brolin. I thought she was wonderful. She is
a riot. I loved her in Billie's Hollywood screen Kiss.
You know, with the right material, I think she could

(54:41):
pack a powerful punch. But Holly needed a firm hand.
She needed someone to ground her. That's what I did.
I grounded her, and unfortunately in her later years she.

Speaker 10 (54:58):
Didn't have that.

Speaker 12 (54:59):
Holly could be of force if she worked hard enough
at it. But unfortunately, what I had to learn the
hard way is that Holly shied away from hard work.
So I worked thirty years in television. All those shows
are lost and forgotten. Who cares, No one remembers any

(55:20):
of that stuff. It has no resonance with today's culture.
But Holly Woodlawn because of all that's going on with
transgender issues, because of her film career, and because of
the Internet. You know, it blows me away when I
when I go on the Internet, I see people writing
about low life and high Heels. I wanted to create

(55:44):
something that celebrated her and paid tribute to her, and
something that would mean something twenty years from now with
this diversity and inclusion business being upset with the straation. Okay, see,
I want to know what. I don't think people understand

(56:06):
how important it is to recognize kid's identity or who's
struggling with his identity or her identity. You know, it
seems like people aren't taking it seriously. But I think
Hollywoodlawn story, especially of low Life and high Heels, if
Holly had grown up in a supportive environment, if she

(56:29):
didn't feel so shameful, would she have run away to
New York. I mean, she ran away to New York
and had an amazing experience, you know, became an Andy
Warhol superstar, and that was fantastic. That's because Holly, you know,
was driven to run away. You know, she couldn't be herself.

(56:50):
Brian Hamilton, who was a good friend of Holly's, told me,
because I went to Holly's close friends and I asked
them to read the manuscript because I wanted them to
sign off on it, and he told me that one
reason Holly ran away from home is because Holly was adopted.
Holly was born in Puerto Rico. His mother didn't have

(57:13):
a father. The father was an American soldier who abandoned mom,
and she moved to New York and met Joe Eichenberg.
They married. Joe officially adopted Holly when Holly was fifteen,
and Joe was Jewish, so he wanted Holly to get circumcised.

(57:35):
Brian said that they forced Harold to get circumcised, and
you know, if you're an adult, a grown kid, getting
circumcised is very painful. So that contributed to this Holly
not feeling safe, Holly's needs not being acknowledged, if you
don't get circumcised and your parents make you. And then

(57:59):
one thing I also want to bring up. You'll notice
that a lot of later photos of Holly, her chin
is off to one side. I wanted to write about
this because I always wanted to explain it, but I
don't think I fitted into the story because it was
just such a non sequitur. But Holly had like an
abscessed tooth, and after it was after her low life

(58:23):
and how he has been written, she might have been
living with Teresa Convoy, but she went to the dentist
in West Hollywood and he's cushion and fucking around with
her lower jaw. And what he didn't know is Holly
had a chin implant. And she had her chin implant
back during her cabaret hey Day in New York, and

(58:46):
he dislodged her chin and on the side of her face,
I mean awful. So that's why you see these pictures.
And Holly's got this lopsided chin. Well, a friend of hers, hey,
it is some money and God blessom he paid for
Holly to have that fixed. That chinn back.

Speaker 7 (59:10):
Well, I'm curious too. You talked about going back to
these older screenplays that you wrote, all these things that
were stuck in development. How which I hear from a
lot of writers. It's like, sometimes I talk with screenwriters,
I'm like, what have you done for the last twenty years?
You have no credits? But obviously you're not homeless, you know,
because they get that same solo script here, resold it
over there.

Speaker 10 (59:30):
But how is that for you?

Speaker 12 (59:31):
Now?

Speaker 7 (59:31):
Revisiting stuff that you wrote earlier and now.

Speaker 10 (59:34):
Putting in thin as a book.

Speaker 12 (59:37):
What's liberating? It's wonderful. I don't think I ever want
to go back to screenwriting. It doesn't appeal to me. Honestly,
it just doesn't appeal to me. I love the freedom
of writing a book. There's a lot of freedom. And
you know, with a screenplay, you got to follow that formula,

(01:00:00):
no matter how unconventional you try to be, there's still
a formula. There's still you know, the certain beat you
got to hit. And in a book, you don't have
that kind of restraint.

Speaker 1 (01:00:12):
You know what I mean.

Speaker 12 (01:00:13):
So the book I'm writing now, there's so much freedom.
I'm just running away from the script. The script is
the basis. But I discovered that, oh what if I
just did this and just totally fucking went off the
deep end over here and did something else. There were
so many stupid hurdles I had to jump through with

(01:00:36):
working with people on my stories. It wasn't fun, Let's
put it that way. It was more frustrating than anything,
especially when you've written a personal story and it's based
on your childhood and it's based on your parents, and
then suddenly you got a development executive saying, let's take

(01:00:59):
this character and make her more like this, make her
more like share. You're like, what, it's kind of disrespectful
to me. I just want creative freedom. I want to
have fun. I want to enjoy writing, and just I
like writing material that makes me laugh out loud.

Speaker 7 (01:01:15):
But I know you say that writing is pretty painful
sometimes with the rewriting and everything, which I think is
very admirable because I think it was Charles Wilofford that
said that the key to writing is rewriting, you know,
and I totally agree with that. But I have to
say that your pro style is so easy to read
and so delightful, because it has taken me a long

(01:01:36):
time to get all the way through a book recently,
other than audio books. But love you madly holly Woodlawn.
I was just eating that up, and I'm reading fifty
sixty pages a night, which normally I'm doing ten because
you grab me and you keep me in there and
it's just so easy to read.

Speaker 12 (01:01:55):
Well, that's my television experience, you know, when you're a
writer in television, especially if you're doing short segments, I mean,
you've got to grab them immediately. But the last show
I worked on, I was the lead story producer on
a show called America Now at Lesa Gimmons, and you

(01:02:15):
know you have to grab them instantly because it's the
top story and you just got to take them on
a ride. And it's got to be a white knuckler.
I mean, everything in that story is true, but it's
really all in how you craft it, because it could
have been really boring, like the drive through California, the
drive through the desert. That could have been a real snooze.

(01:02:36):
But that's faith that this is a book about writing
a book.

Speaker 1 (01:02:39):
How exciting is that me.

Speaker 7 (01:02:41):
I've never read a book about the writing of a
book like this before.

Speaker 12 (01:02:46):
Thank you, because you know what, Oh God, Mike, I
couldn't get people to read it. The worst thing about
being a writer is when you can't get people to
read your work. You know, I wrote The Long Haired Depression,
I think in nineteen ninety four, and I couldn't get
it read until what was it two thousand? I mean,

(01:03:07):
that's stupid. And then they read it and they flipped
for it. I mean, it's just absurd. And when I
was trying to get an agent to represent Love You
Medley Hollywood Lawn, I couldn't get anybody to take it on.
Well there was one agent though, who he was very complimentary,

(01:03:30):
but he said that Hollywood stories weren't a big seller
and he would have trouble take place again. So I
respect that you want an easy sale, right, So I
am beyond thrilled that you've said that. That's by day.
Thank you.

Speaker 7 (01:03:51):
Are you in a better place now? Do you have
a better agent and do you think that these next
few books will be placed pretty easily?

Speaker 12 (01:03:59):
I don't have it agent. I got Faraoh House because
I was hustling for a publisher. I couldn't get an agent.
And you know what was frustrating is you would weary
an agent. Oh god, here's the worst experience. Oh lord.
I had a literary manager who came recommended, and I

(01:04:20):
sent her my pitch and she enjoyed the pitch, and
she had her beta reader read the manuscript and this
person flipped for it and told me it was fantastic.
So the manager couldn't wait to read it. But yet
it was going to take her six months to read it. Well,

(01:04:40):
it actually took nine. While I'm waiting. You know, they
don't want you to hustle other agents. But basically what
I'm doing is I'm trying to figure out what's the
backup plan here? And Faraell House was one of the
backup plans. So she finally said she rejected it.

Speaker 10 (01:04:58):
It was awful.

Speaker 12 (01:04:59):
Yeah, it's frustrating. I thought, what do you do? But
basically what I would do is I would find books
out there. While I'm waiting for her to respond the
nine months, I'm finding what books are out there that
are similar to mine, and I buy them and I
read them, and then I would contact their publisher. Well,
Faraoh House had come out with the book on Vampira.

(01:05:21):
I must sure if you're familiar with that, it's called
Glamour Ghoul, I believe, and Vampira you know about this neighbor.
So I was rivetted with this book, and I reached
out to Faraoell House with a pitch. I guess you
call it a query. Well they didn't respond. Oh fuck man,

(01:05:42):
it was crickets. Okay, I'm thinking, how is it that
Faraal House has not responded? So I decided I was
going to go in through the back door. I was
going to sneak in with a licensing request, because if
you want to license one of the photograph from their book,
you got to go through a whole different process. So

(01:06:04):
I reached out to them and said, hey, I'mage Resident
licensing a photo of vampire for my book. I got
an immediate response, and so it was from Jessica the publisher,
and I brought her back thank you so much. By
the way, I was just curious, I never heard from
you regarding my you know, love you madly, hollywoodlawn very

(01:06:25):
and she was like, oh, you know, it's really not
for us. It's not a hard no, but if we
were to have taken on, it would have to be
reworked considerably. And I was like, okay. I left that
door open for about a year while I hustled other
publishers and got more rejections, and then if I finally

(01:06:47):
decided that I was going to rewrite it, and I
rewrote it and I cut one hundred pages out, and
then I resubmitted it to Farrell House and they responded
and she said, you know what, it's remarkably better, but
it's not quite there. You've got to do a little
work on your direction and your tone. And I was like, great,

(01:07:11):
give me six weeks. So how a new draft? Yeah,
And so I sent the new draft in six weeks
and they loved it. Writing is a lot of work.

Speaker 7 (01:07:23):
Well, and that's the other thing that your book really
transmits is just how much work it is, even though
you don't get into the minutia of like, well and
on this page, on this day, I wrote twenty pages.
But there are times where it's like I wrote these
three pages, and now I had to make it into twenty,
and it's just like wow, gosh, you know, I don't

(01:07:44):
think I could do that. And I don't think I
could do all the rewriting and the chopping up on
my own work. I mean, just cutting one hundred pages.
Whatever you did, it worked.

Speaker 12 (01:07:54):
I drank lots of coffee.

Speaker 7 (01:07:56):
That coffee house that you talk about in the book.
I'm just like that seems like a fueled.

Speaker 12 (01:08:00):
Him Lizard's Coffee House. Yes, that was great. I loved
that hangout, my friend. You know, I met some of
my best friends there, Clinton Owie, who was one of
the owners, me and Teresa, who was Holly's publicist and
became her manager. We would hang out there all the time.
I mean, it was just like this little scene in

(01:08:24):
one of the derelict areas of Hollywood that no one
would think to go to. They were all going to
Sunset Boulevard, you know, thinking they were all hot and cool.
But it was really right there and that little niche,
and it was just fascinating seeing Brandon Lee hanging out
having coffee because he was going on stage that night

(01:08:46):
next door, or having herb ritz upstairs. It was just amazing.

Speaker 7 (01:08:53):
Where is the best place for me to keep up
with your work? So I can actually see when this
new book is available?

Speaker 12 (01:09:00):
Well, I'll have to reach out to you because I
don't have a website. I never really needed one. That
might change in the future. We'll see, I gotta we'll
see how successful this book is.

Speaker 7 (01:09:12):
Fingers are crossed, definitely, fingers crossed. Well, I will sink
from the rooftops to make sure that more people know
about this.

Speaker 12 (01:09:19):
Well, thank you, I appreciate that.

Speaker 7 (01:09:21):
Jeffrey, thank you so much for your time. This was
so wonderful connecting with you.

Speaker 12 (01:09:25):
Oh my god, it was my pleasure.

Speaker 9 (01:09:27):
Mike, thank you.

Speaker 7 (01:09:52):
Please tell me how did you get interested in writing
and eventually become, you know, writer of both children's story
as well as mysteries.

Speaker 8 (01:10:02):
I always wanted to be a writer from an age
of five. Don't tell me, I don't ask me why.
I just do something I knew. How did I become one?
I just wrote what you got to do, and then
eventually I got an agent. That's what you also have
to do. And she sold the UK which was the

(01:10:24):
first book which it wasn't really a children's book. It
was meant for adults. It was a takeoff on certain
books I mean, but it appealed apparently to lots of
children and was published overnight. I mean, it wasn't actually
published overnight. With what overnight? I became very successful.

Speaker 7 (01:10:43):
From what I understand? Does he Lou was interested in
making a TV show or a.

Speaker 8 (01:10:47):
Movie out of it, in a little pilot and anything
ever came out of it.

Speaker 7 (01:10:52):
How did you get involved with Scarecrow in the Garden
of Cucumbers.

Speaker 8 (01:10:56):
Well, Robert Chaplain, who was the director, came to me
through my agents. I asked if I would do it
and tell me what you wanted. You know who he
thought would be in it. So I thought why not?
And I tried it and it worked for him. I

(01:11:17):
don't know who else they worked for. He had very little,
and I ended up. I hate to say this, it
is true, I ended up directing it myself because he
wasn't any he wasn't teaching how to do it. It
was a mess, and so I sort of I didn't
mean to take over, but the actors started coming to
me for certain things, and I sort of directed it myself.

Speaker 12 (01:11:42):
Well.

Speaker 8 (01:11:42):
It was scary, but I liked it. I liked doing it,
and that was the end of it.

Speaker 7 (01:11:48):
How was Hollywoodlawn to work with?

Speaker 8 (01:11:51):
She was lovely except for the first night this drunk.
After all the setup and everything, he couldn't shoot. Robert
asked me would I let her live with me? Where
the remainder of the shoot, which was goa be about
six weeks and was six weeks. But I said sure,

(01:12:12):
I'm not going to be with her every second, but
I'll try to make sure she's not your first shoots,
which I did, and he fixed me. I guess to
do that because I am a recovered alcoholic.

Speaker 7 (01:12:27):
Had you had experience with directing or even writing.

Speaker 8 (01:12:31):
For screen, No, nothing, not at all. No, a shock.
Holly was a shock, but she was also very nice
like her.

Speaker 7 (01:12:41):
What was it about the work that you had been
doing that brought you to Captain's attention.

Speaker 8 (01:12:46):
I had been doing plays at that point. It'll play
small projections and he, I guess, so on or wait
a minute, Gloria who was my agent, Gloria Sapphire, just
so we'd make a good combination. That's what happened. Came
to her for something and offered me help him, and

(01:13:09):
it worked out, except, as I say, he honestly didn't
know what he was doing. So there was a full
fell on me, which was a lot, but I did
enjoy it, and that was the end of my directing career.

Speaker 7 (01:13:24):
But I know you had other things that were adapted
as well, including the after School special, The Late Great
Me The Story of a teenage you call Alcoholic. I
imagine that was based on personal experience.

Speaker 8 (01:13:36):
No, because I wasn't a tag teenage alcoholics. I don't
observed it, so I didn't know enough about alcoholism to
know certain things. I didn't have anything to do with
the production at all. It was all done in Hollywood, I.

Speaker 7 (01:13:53):
Think was Scarecrow? Was that completely shot at New York City?

Speaker 8 (01:13:57):
Yes, it was lucky enough to get certain people. I'm
sure you know. Lillie Toman did her telephone answering, servicing
it and as a singer, became became honest, and it
turned out to me. She turned out to me Bed Miller,

(01:14:18):
who wasn't that Miller then? I mean she was, but
she wasn't. And she was also lovely. He I did work,
would have not worked with those us involved. Really did
it on her own off camera, which it is. But
I got to know her too, and she was also
a very nice person. Everybody was very nice. It's involved

(01:14:41):
with it probably, although he wasn't not nice. He just
was foundering and then disappeared with the whole thing. So
it's been all these years, but in nineteen seventy one,
it's been all these years for me to see it.

Speaker 7 (01:14:58):
Did you finally manage to see it again?

Speaker 8 (01:15:00):
Yes? Recently in the last couple of months. It's an
awful movie. I mean, as movies go, it wasn't a
good movie, but it's certainly very timely right now with
all the transsexuals and everything. I think Holly was the
best actress of all those people. Not the prettiest, but

(01:15:22):
the best actress.

Speaker 7 (01:15:24):
When you get to work with David mar Mark gullis, sorry, who.

Speaker 8 (01:15:29):
I David marvelous?

Speaker 7 (01:15:31):
He ended up having a huge career.

Speaker 8 (01:15:34):
He did in the sense of character parts. He never
became a star. David is wonderful. Was Betides Now a
shoot a year ago?

Speaker 7 (01:15:44):
I think, and I'm sure rewatching it again all these
years later must have brought back some memories.

Speaker 8 (01:15:51):
Well, I brought a shocking back, shocking memory back with
how I looked he then I look now, just assume
out of seeing it in a way that was something
like thirty six years old. And there were friends of
mine in it too, who just who crowded scenes and
stuff they dragged them in. It was interesting and shocking

(01:16:12):
to see some people. There's some really funny I mean,
as I say, it's an awful movie, but I shouldn't
say that. But as movies go, it wasn't, you know,
Hung together very well. But there were certainly the wonderful scenes,
I think, funny scenes, amazing the names that I chose
that they still ring true for some I guess some

(01:16:37):
of the stuff in it is so viable.

Speaker 7 (01:16:41):
Were you a big fan of All about Eve?

Speaker 8 (01:16:44):
I still am. Yes, I think it's one of our best,
the you know movies. A lot of people wouldn't get that.
For listeners, Joe Buck is a dwarf. Although I think
that I'm not supposed to say that. It's supposed to
say a little person or something.

Speaker 7 (01:17:02):
What was the release of the film, like, was there
a premiere?

Speaker 8 (01:17:06):
Well, I think you called that. It was opened it Waverley,
the Waverley Theater and the Grand Village, and a few
important people came and Holly arrived with big doves. Imagine
that you could call it PREMI areas.

Speaker 7 (01:17:25):
I'm curious about your Jack Early books. Why did you
end up using a pseudonym for the for those.

Speaker 8 (01:17:31):
Just for three of them? I did because women writers
are treated differently from male writers, especially books are like
the ones I wrote grime books, and so I thought
i'd try that, and in fact I was right, because
one review, for instance, compared not compared me to said

(01:17:55):
I was as good as King and Elmer, Leonards and
somebody else I can, which no one would have said
I had a woman's name. Unfortunately, that problem still goes on.
You know, people in the business and people outside of
the business definitely looks at women's things one way and

(01:18:17):
men's things men's things another way. Was just too bad
all the same.

Speaker 7 (01:18:22):
I'm sure you have faced a lot of adversity. First
being a woman writer or woman anything, and then being
a lesbian writer anything on top of that must have
made it even more difficult.

Speaker 8 (01:18:36):
I didn't believe it or not. It's a woman thing
more than anything else. Yes, nobody cared that much about lesbians.
I'm glad to say now it's really the sexiest that
people are about by, which is so stupid.

Speaker 7 (01:18:50):
Were you pretty public that it was you writing under
pseudonym or did you try to keep that on the
down low?

Speaker 8 (01:18:56):
When I first wrote the Jack Early books, I keep
it quiet, But then little by little people found out,
which was all right because it was already it had
already been you know, really, et cetera.

Speaker 7 (01:19:11):
What did you think of the adaptation of Donado and.

Speaker 8 (01:19:14):
Daughter Bells Ronson would not have been my first choice,
but actually got made because of him. He was the
one who wanted to do it. It wasn't bad. I mean,
I've always thought he couldn't act very much, but the
rest of them are pretty good. It does have a
great fast and it worked pretty well, I think. But again,

(01:19:38):
did you ever see it any except for something on
television at four in the morning. I didn't. I don't
know why. I'm hoping some streaming place will pick it up.

Speaker 7 (01:19:50):
Well, are you excited that Scarecrow is going to be
available now for people to see?

Speaker 8 (01:19:54):
I am very glad. Yes, it'd be interesting to see
what happened to it. I'm so sorry that how and
around and because she was desperate to find that movie.

Speaker 7 (01:20:04):
Yeah, I'm very curious how audiences are going to react
to this fifty five years later.

Speaker 8 (01:20:10):
Yes, me too.

Speaker 7 (01:20:12):
What about you?

Speaker 10 (01:20:13):
What are you up to these days?

Speaker 8 (01:20:15):
I have a series out there, the book series. It's
a detective name Laura Aronta, and I'm hoping that'll be
picked up. That's perfect. She is a last dance and
it's presents the whole thing with those to the normal people.
I like many books are going to do that.

Speaker 7 (01:20:37):
Well, I hope that that definitely gets picked up. I
would love to read more of your fiction.

Speaker 8 (01:20:42):
Well, I'm not going to read any more of those.
I did it, you know, because a line I don't say,
because the thing then it's said, and it is just
two books. That's the last. Stop writing and say, sure,

(01:21:05):
I just stop writing. I'm getting into it. That's I'm
thinking about ways to right right about.

Speaker 7 (01:21:19):
Well, Sandra, thank you so much for your time. I
really appreciate this.

Speaker 8 (01:21:23):
Well, I appreciate it, thank you very much.

Speaker 7 (01:21:38):
I'm not I'm not.

Speaker 11 (01:21:39):
I want to get the screen work, get it good,
and get it.

Speaker 12 (01:21:56):
All right.

Speaker 7 (01:21:56):
We are back when we're talking about a scarecrow in
the Garden of cucumbers, And yeah, I did wanted to
talk a little bit more about The Thorn, which I
imagine had to have been retitled after the Rose got big, right,
I mean, here's what this movie was called before. I
can't see it having that title when it came.

Speaker 2 (01:22:13):
Out, so far as I know, that was always the
title of it. I mean I only saw it on
a decrepit videotape many many many years ago, so I
don't know that that's ever gotten full restoration or a
DD release. Somebody can correct me on that for sure,
and maybe it's not an excellent movie the way that
I think Scarecrow is an excellent movie. I will say

(01:22:35):
that The Thorn was definitely a film that was made
to poke at people in a fen, you know, and
kind of press those envelopes an equal opportunity offender. In
many ways, it doesn't have the heart the Scarecrow does,
which is interesting.

Speaker 7 (01:22:51):
Yeah, I didn't get a lot of heart out of it,
but it feels like a movie of the time. This
one came out a year earlier, in seventy one, and yeah,
I guess I was looking at and I don't trust IMDb,
but I was looking at IMDb and it says that
the title while they were filming it was the greatest
story over coold, Like, Okay, yeah, we've seen all these

(01:23:13):
stories before, Yep, this is good. Kind of reminded me
of Wakefield Pools the Bible a little bit with the
way that it was taking on some of these themes
and everything. And it also reminded me a little bit
of Krey Parker and Matt Stone when they did that
whole story of Aaron and Moses. Just something about that
sacrilegiosity that I had, but I kind of like movies

(01:23:35):
from this era, especially these really corny movies, and like
so many of these jokes were just so corny. I
mean when they had the director at the beginning, who's
playing like a Harpo Marx type character and him what
was it the redo the MGM lion but it's him
and I'm trying to remember what it says instead of

(01:23:55):
art for art's sake.

Speaker 10 (01:23:57):
Oh shit, it had.

Speaker 7 (01:23:58):
Something good written above the title of it, and I
was just like, again, corny as how, But just you know,
it's all worthy. But I love that style of humor.

Speaker 2 (01:24:08):
No, I mean, it is a fun watch, and it's
camera kick in this same way that just Scarecrow and
Vinie and all the waters More WORL films, et cetera.
So yeah, it's definitely worth taking a look at. But
if you're watching it for Bett Miller, you know you're
only going to get a little bit of that.

Speaker 7 (01:24:24):
Looking around for some of these songs because I thought, oh,
maybe some of the songs on the Scarecrow soundtrack are
available on like old Bete Midler albums as far as
I can tell, No, but there are so many Bete
Midler bootleg sites and fan sites where they It feels
like all of these folks were like me up until

(01:24:45):
just recently, where I'm like, where the hell can I
see this movie?

Speaker 1 (01:24:48):
I want to see this movie.

Speaker 7 (01:24:49):
And I think anybody who's a bet Midler fan who
ends up watching Scarecrow will be like, Okay, yeah, this
actually does scratch an itche because they use her songs
quite often. I mean, like you said, like two songs,
then one of them comes back a few times, and
they're pretty there are good songs too.

Speaker 4 (01:25:06):
Yeah, And I think the thing that's interesting is even
though she's not physically in the film, she was a
pretty big selling point for it. I like how the
newspaper ad Matts say here Ben Miler sing strawberries, line
back and line like you're going to go to the
theater just to hear the one song sung by her.
I mean, I think one thing it was interesting about
this film is just doing the post mortem what if

(01:25:30):
for Why did this.

Speaker 1 (01:25:32):
Not break through in the way that it should have.

Speaker 4 (01:25:34):
I know that it had a terrible advertising campaign. I
have an original poster for the film, and it's the
strangest poster I've ever seen for a film because it
is a circle. It is a movie poster sized circle,
poorly designed with that photo of Hollywood Lawn with the
tinsel on her head from the musical number, and it

(01:25:56):
just says hooray for Hollywood Lawn, scarecrow and mcgarnier cucumbers,
and it is like, frankly the most hideous movie postery own.
And it's just so weird that a film like this
that I think has so much appeal and is so
genuinely funny, just like didn't get a good campaign and
just kind of fell flat. I know that when it
premiered at the Elegant Theater which is now IOC Center

(01:26:18):
in the West Village. I believe Candy Darling came to
the premiere with a bag of tomatoes like in a
threatening way, and then afterwards so that he did not
throw any So I don't know, it's weird to think
that this movie just never really broke through in a
way that it should have.

Speaker 7 (01:26:34):
Yeah, And the only poster I've ever seen is just that,
and it's got to be just what an ad Matt,
the one that you're talking about with DC or come
to hear Bete Midler thing. That's the only media I've
ever seen for this whole movie.

Speaker 10 (01:26:48):
I haven't even seen that.

Speaker 7 (01:26:49):
Ugly post through that you're talking about.

Speaker 1 (01:26:52):
It's hideous.

Speaker 4 (01:26:53):
And the funny thing too, is that I believe at
some point in the seventies and early eighties New Line
Cinema actually distributed it a little bit, so down around
a little bit. It's just really just never came out.
I think the director, Robert J. Kaplan, later wound up
working in distribution. He worked on frankenon latter's basket Case,

(01:27:16):
And when I asked Frank about that, we had him
out for a screening for the Weird Wednesday series that
I do at the Alum on Brooklyn, and I mentioned
the name to him and he started cursing like he
was not happy with the works that Robert Kaplan did
on basket Case because I think they were trying to
sell it as like a midnight movie, and he did
not want it to be sold as like a midnight movie.

Speaker 1 (01:27:33):
He just wanted to be like a regular movie.

Speaker 4 (01:27:36):
But I think that the really sweet full circle moment
is that like he's someone who's very clearly inspired by
Robert Downey Sr. And then he later wound up producing
Robert Downey Senior's comeback movie in the eighties, which I
believe was later released as America. It's an interesting career
and just someone who's just kind of been forgotten about
it and then only exists in these traces and projects

(01:27:57):
that he was involved with. But I'm curious what other
stories there are about him.

Speaker 7 (01:28:01):
Well, it sounds like there wasn't a lot of love
lost between him and sondrascopatone. I mean, according to her,
she's the one that directed this movie, so we're like, oh, okay,
she's not happy with what went down at all. So
history's written by the winners, I guess. So he's I'm
glad he's still around. I was trying to get a
hold of him but not able to. But yeah, she

(01:28:23):
didn't have a whole lot of fun things to say
about him. I think I just found that poster that
you're talking about, the yeah hooray for Hollywood lawn. Holy cow. Yeah,
that is a weird poster. And is the poster a
circle or is it actually a rectangle with a circle
in the middle.

Speaker 1 (01:28:41):
It is actually a circle.

Speaker 10 (01:28:43):
Wow, Okay.

Speaker 4 (01:28:45):
And it immediately went into a tube because there's no
way to frame it, and why would I want to
put that on a wall, but I had to have it.

Speaker 1 (01:28:51):
Yeah.

Speaker 7 (01:28:51):
World premiere engagement, Waiverley Theater, March nineteenth or fifteenth, nineteen
seventy two.

Speaker 10 (01:28:57):
So yeah, all.

Speaker 1 (01:28:59):
Right, that the waver Lean a yell again.

Speaker 7 (01:29:01):
Yeah, I'm a little nervous that I haven't seen the
announcement of the Blu Ray though it's supposed to be
coming out for Pride months, so I'm excited for that.
I hope more people finally get to see this movie
because I think they're going to have fun. And I'm
glad that these screenings are happening because I really would
love to see this in a movie theater. I imagine has
to be similar to something like I don't know, The

(01:29:22):
People's Joker or something where you're just like, yeah, I
get a lot more out of this with an audience
than I do just sitting in my living room alone.
All Right, We're going to take another break and play
a preview for next week's show right after these brief messages.

Speaker 10 (01:30:16):
That's right.

Speaker 7 (01:30:16):
We'll be back next week with a look at the
Exterminating Angel. Until then, I want to thank my co
host Rain and Elizabeth. So Rain, what is keeping you
busy man.

Speaker 2 (01:30:25):
I've got a new band finally and we're starting to
play out which is very nice, fifty Foot Woman and
the Worms. So if you're in the Baltimore, VC area,
keep your eye out. We'll be playing some shows. I've
got a lot of art, a lot of art coming
up this year which is really really exciting. So find
me on the internet, find my website rain dot com
and yes, sign up for my mailing list and all

(01:30:47):
of which you know what's going on.

Speaker 10 (01:30:48):
And Elizabeth, how about yourself.

Speaker 4 (01:30:50):
At the time that this is being released, I've actually
just had my first theatrical release through my new distribution company,
which is called Muscle Distribution. It's a brand new four
K restoration of an early eighties punk new wave female
centric drama comedy called Going Down.

Speaker 1 (01:31:08):
That's never had a US release before. It's really incredible film.

Speaker 4 (01:31:11):
Often touta is one of the seminal Australian independent films,
but it's got a really incredible soundtrack with a bunch
of local punk and New A bands. The Birthday Party
has a song in it. It's just the kind of
movie that I feel like is a big sort of
discovery kind of a title.

Speaker 1 (01:31:26):
If you like Smithereens or Times Square or After Hours.

Speaker 4 (01:31:30):
I think people really love it, so I think if
this is out at the end of May, it'll still
be in theaters and still playing around.

Speaker 1 (01:31:37):
So check out.

Speaker 4 (01:31:38):
Muscle Distribution at Instagram or muscle dash Distribution dot com
and there's a lot of other kind of fun, crazy
stuff coming up. So I'm very excited for that.

Speaker 7 (01:31:48):
Thank you again, ladies for being on the show. Thanks
to everybody for listening. If you want to hear more
of me shooting off my mouth, check out some of
the other shows that I work on. They are all
available at Wadingwaymedia dot com. Thanks especially to our Patreon community.
If you want to join the community, visit Patreon dot
com slash Projection Booth. Every donation we get helps the
Projection Booth take over the world.

Speaker 6 (01:32:19):
Stro best.

Speaker 11 (01:32:24):
And live.

Speaker 16 (01:32:25):
The pa Clan has forgarten the time the gardens of
me have burst in the bloom.

Speaker 6 (01:32:37):
But the Princess is not.

Speaker 3 (01:32:47):
Touched on the table, her curds and way she has
often seen since the.

Speaker 17 (01:32:56):
Dawn on the day when she put on her raincle and.

Speaker 3 (01:33:02):
Ran through the dream singing strawby lane. Only two quarters
and one.

Speaker 6 (01:33:20):
Stroll, very staircase of princess and may come and leaving
her burdens alone.

Speaker 3 (01:33:30):
In the tongue remain on the top, and never don.

Speaker 12 (01:33:42):
All call the Chicka show.

Speaker 11 (01:33:45):
At Pascals, you see a princess asleep in the third Mezantine.

Speaker 17 (01:33:54):
Many needs her bad since we knowed her last singing
straw line Blood.

Speaker 11 (01:34:09):
The locks grown, love.

Speaker 3 (01:34:13):
The hill I's having done the astertail.

Speaker 18 (01:34:21):
The garden rob Roxy is day fall in the team
corn is the princess, but a high on the hills
well the wild bear is grown where black.

Speaker 17 (01:34:43):
Bear is blossom and blue bear is black garn lng
in a long very.

Speaker 16 (01:34:56):
Child is asleep in the memory last road.

Speaker 6 (01:35:09):
Dream and straw Mary

Speaker 8 (01:35:13):
Loved and

All Episodes

Episode Transcript

Popular Podcasts

Fudd Around And Find Out

Crime Junkie

24/7 News: The Latest

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 747: Scarecrow in a Garden of Cucumber (1972)

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Fudd Around And Find Out

Crime Junkie

24/7 News: The Latest

All Episodes

Episode 747: Scarecrow in a Garden of Cucumber (1972)

Fudd Around And Find Out