March 26, 2025 • 44 mins
Ever wondered what it’s like to tumble through Hollywood as a pioneering stuntwoman? We have the honor of chatting with the indomitable Sandy Gimpel. From her early days of dancing alongside legends like Fred Astaire and Elvis Presley to her unexpected leap into the world of stunts, Sandy's journey is nothing short of extraordinary.
Discover how a chance opportunity on Lost in Space led Sandy into the high-flying world of stunts, where she doubled for icons like Debbie Reynolds. She shares thrilling tales from the sets of Star Trek and beyond, and gives us a sneak peek into her book, Falling for the Stars, and her upcoming culinary adventure, Falling for Food.
Join us as Sandy reveals her secrets to longevity and vibrancy, and inspires us all to keep moving. Tune in for a story of resilience, passion, and the art of falling with style!
Sandy's Bio
Sandra Gimpel, is a Stunt Coordinator and first stunt women to become a 2ND Unit DGA Director. One of the founding members of “The Stuntwomen’s Assoc” and past Vice President. She is President of Felion Productions Inc., and works on many features and television productions. Not only did she play the Talosian in Star Treks, “The Cage” but was also the Salt Vampire, M-113 on, Star Treks, “Man Trap”.
She was honored to receive the “Women in Film” Crystal Award for outstanding achievement in Stunt Coordinating. She also received the Life Time Achievement Award from Diamonds in the Raw; and received the SAG Award for outstanding stunt ensemble for “Spiderman 2”.
Her credits include Sacha Baron Cohen’s award for the BBC, several Jimmy Kimmel Live shows on ABC, Goonies, The Truman
Show, Off Their Rockers with Betty White, Raising Hope with Cloris Leachman. Television credits include TV series Mrs. Columbo (doubling Kate Mulgrew and Stunt Directing, State of Grace, Luis, These Old Broads doubling Debbie Reynolds and Stunt Coordinating, Harts of the West with Beau Bridges.
Between stunts and acting parts she has been on several major motion pictures. Sandy served as Associate Producer on the show “Scamps” for Universal Studios and Executive Producer Sherwood Schwartz. For several years Sandy preformed on live shows including the Westinghouse show at POP, charity events, and worked with the Boys and Girls Clubs of America.
Just a note Sandy is a 4TH Degree Black Belt in Tae Kwon Do from world famous Billy Blanks.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Sandy Gimpel (00:01):
This is the EWN Podcast Network.
Cathy Worthington (00:14):
Welcome to late boomers, our podcast guide
to creating your third act withstyle, power, and impact. Hi.
I'm Kathy Worthington.
Merry Elkins (00:24):
And I'm Mary Elkins. Join us as we bring you
conversations with successfulentrepreneurs, entertainers, and
people with vision who aremaking a difference in the
world.
Cathy Worthington (00:34):
Everyone has a story, and we'll take you
along for the ride on eachinterview, recounting the
journey our guests have taken toget where they are, inspiring
you to create your own path tosuccess. Let's get started.
Hello. I'm Kathy Worthington welcoming you
(00:54):
to an exciting new episode oflate boobers. Our special guest
today has jumped out of windowsand off buildings, fallen from
tightwires and down flights ofstairs, been burned in fires,
held her own in fights with menand women, and driven cars off
cliffs just for example. Whatcould that be? She's the stunt
(01:16):
lady for the stars, SandyGimpel.
Merry Elkins (01:20):
And I'm Mary Elkins. And not only that, at 85
years old, she's still jumpingfrom buildings. She's won
numerous awards for her work asa stunt coordinator and was the
first stunt woman to become asecond unit director. She's also
a producer, an actress anddancer, and a fourth degree
taekwondo black belt. And she'sthe author of the book Falling
(01:46):
for the Stars, and soon hercookbook Falling for Food will
be published.
Welcome, Sandy.
Sandy Gimpel (01:53):
Thank you for having me.
Merry Elkins (01:56):
To have you.
Cathy Worthington (01:58):
Please tell us about your background and how
you got into show business andstunt work.
Sandy Gimpel (02:03):
Oh my gosh. Well, mom started me dancing when I
was like three years old to keepme out of trouble. And
seriously, she was very goodabout making sure that my sister
and I were very busy so that we,you know, didn't get into
anything. Did it work? No.
It did not work. I mean, I haveto come home with black and blue
(02:26):
marks and she go, oh my god.What happened to you? And I go,
what? What are you talkingabout?
Nothing. And anyway, thedancing, you know, I just kept
dancing afterwards and shewanted me to go to school and
become a teacher. And I actuallywent to school, got my applied
(02:48):
arts degree and certainly didn'twant to teach. But what happened
was there was an audition for ashow out here in California
called Pacific Ocean Park. Itwas a big theme park out at the
ocean.
They were looking for dancers tobe Jack and Jill and bring the
(03:09):
people into the park. And so Iwent and auditioned because I
knew I had a lot of my friendswere dancers. So I went and
auditioned for the show anddidn't get the job and was very
disappointed. And so I signed upto go to school to get my third
degree, you know, my third yearof school. And a week later I
(03:31):
got a phone call from MiriamNelson who was our choreographer
and she said, you still want thejob?
And I said, absolutely. And shesaid, well, one of our girls is
pregnant and she can't do it soshe quit. So the job's yours. So
I did that show for three yearsas a dancer. And when the three
(03:53):
years was up, I auditioned forThe Pleasure of His Company with
Fred Astaire and Debbie Reynoldsas a dancer and got in in the
entertainment business that waybecause I got picked to, you
know, be one of the dancers onthe show and never looked back
and just went on working as adancer, ending up doing 15
(04:16):
movies with Elvis Presley.
I was one of his five And whenhe decided he wasn't going to do
movies anymore and go back toLas Vegas and, you know, do live
shows. I was already in theindustry and I had been working,
doing some background work anddoing some acting. I, you know,
(04:39):
working with Bill Bixby and afew other people. And I did lost
his face. And what happened wasElvis wasn't doing a movie, so
they sent me out to audition tostand in, which means when they
like lights, set the cameras,you're standing in.
And they needed a new stand infor Bill Mummy who was 11 years
(05:00):
old. And so I auditioned andusually all they care about is
how tall you are and if thecoloring is correct and that's
all they care about. Well, thisaudition there was like eight or
nine guys sitting at a tableasking me all these questions
about my background and mycoordination and all of this.
(05:21):
And one guy stood up and said,so have you ever thought about
doing stunts? And I swear to youon a bible, I said, what's a
stunt?
Because I had no idea what hewas talking about.
Merry Elkins (05:34):
That's my next question to you. What not
everyone in our audience knowswhat stunt work is or what
doubling for an actor involves.So go on and tell us more.
Sandy Gimpel (05:45):
Well, basically what happened was his name was
Paul Stater and he was the stuntcoordinator, which means he
hires the stunt people. And hesaid, you can stand in for Bill
and stunt double him if you cometo the gym three days a week and
we will teach you how to dostunts.
Merry Elkins (06:04):
Wow.
Sandy Gimpel (06:05):
And I was 22 years old and I said, sounds good to
me. And so
Cathy Worthington (06:12):
I wanted to ask you also who were your
mentors. So that was number onethen.
Sandy Gimpel (06:16):
That was my very first mentor. Absolutely. But
Uh-huh. Taught me how to doliterally, I was going to the
gym with five or six or sevenstunt guys that were in the
stuntman's association andlearning how to do fights,
learning how to do high falls,learning how to sword fight.
(06:37):
Just all basic kind of stuffthat you need, you know, to fall
down.
And the wire work came later inmy you know, because they were
doing a lot of wire work then,everything was more practical.
Cathy Worthington (06:51):
And
Sandy Gimpel (06:53):
I ended up on Lots of Space not only doubling Bill,
but I ended up doing thevoiceovers. I ended up playing
monsters on the show. And Inever looked back. I mean I just
kept working after that andthere was really two people that
doubled kids in those days. Thatone was myself and one was oh
(07:20):
goodness, I just lost his name.
Anyway, he
Merry Elkins (07:24):
He'll come to you.
Sandy Gimpel (07:25):
You know, it was He was a male. Was a guy. A guy
and me. And the funny part washe was littler than I was. He
was skinnier.
And half the time he woulddouble the girl and I would
double the boy.
Cathy Worthington (07:38):
That's That's great.
Sandy Gimpel (07:40):
But yeah. So I just, you know, I just kept
working and I got very I'm veryblessed. I no complaints. I
absolutely love love love mylife.
Cathy Worthington (07:50):
Well, tell us what it was like working with
Elvis. And also tell us aboutsome of the most memorable
people and He
Sandy Gimpel (08:00):
was amazing. He was, you know, just the most
gracious person you'd ever meetin your life. And it was really
interesting because there wereyou know, girls were coming and
going and dating him and, youknow, and everybody kept saying,
well, did you date him? Did youdate him? And I never did
because basically, I had adaughter at the time that was
(08:21):
very young.
You know, she was like two orthree years three years old, I
guess, when I first startedworking with him. And I needed
to work. I was a single mom andI needed to work. And And I
watched the girls that dated himcome and go. And I thought, you
can't come and go.
And his guys, his mafia guys,Joe Esposito and Charlie Hague
(08:43):
and those guys decided theyliked me and they were gonna
keep me out of trouble. And so Ikinda got connected more with
the boys than I did, you know,with him. And I got to go to
rehearsals and sit in while theywere playing, you know, just
working things out musically. Igot to go play softball with
(09:04):
them when they go play softballwith out of Veterans Hospital.
Elvis loved to play softball.
And I'd go to the house in BelAir and got to play games. And
so I got to be in the innercircle and more so than other
girls did because I was kind oflike one of the boys, which was
(09:27):
really
Cathy Worthington (09:28):
You were very you were very wise for your
years.
Merry Elkins (09:32):
Absolutely. Yeah.
Cathy Worthington (09:34):
It was You didn't fall into that Hollywood,
Charlotte category.
Sandy Gimpel (09:39):
Yeah. You know? Yeah. Yeah. I was Amazing.
Really lucky. You know? And youdon't realize it when things are
happening, especially in mybusiness. You know? You just go
in and work and you go home andyou do your next job and you
know, you don't think about it.
You just realize later on inlife.
Cathy Worthington (09:59):
And then you get to go play softball.
Merry Elkins (10:02):
I know. Absolutely. That's not a bad gig
at all.
Sandy Gimpel (10:06):
No. I mean It's really fun.
Merry Elkins (10:08):
And and you did what? How many? 15 movies with
Elvis?
Sandy Gimpel (10:11):
I did 15 movies. That's one of his five dancers
that he just wanted back all thetime. In fact, they were doing a
picture at MGM called it wascalled Chautauqua at the time.
And I think they changed it toGirls, Girls, Girls or it was
one of the girls movies. Hehadn't done he wasn't he was
(10:33):
between movies before theystarted that.
So I was doing Coach of Betty'sFather with Bill Bixby and doing
a little acting part on it andstand standing in on the show.
And the funny story is Elvis wascoming back from lunch from the
commissary and Bill Vicks and Iwere going to lunch and we met
(10:54):
in the middle of, you know, thestreet on the lot And they're
talking. They were really goodfriends. And they're they're
talking like I wasn't eventhere. And and Elvis looks at me
and looks at Bill and looks atme and goes, what are you doing
on his show?
And I went, well, you were busyand you weren't doing anything,
so I needed to work. And helooked at Bix and he said, when
(11:17):
are you guys rapping? And hesaid, another week. And he and
he goes back, okay. I want youtalking to the producer as soon
as you wrap and you're back onmy show.
He said, yes. So that was thekind of relationship we had. It
was kinda cool. Yeah. Good.
Merry Elkins (11:33):
Yeah. Can you talk more about some of the more
memorable people you've workedwith or or some of the moments
in your career?
Sandy Gimpel (11:42):
Who I've worked with? That's uncomfortable. You
know? Yeah. I you know, I'vebeen very lucky.
I mean, the Bixby was amazing towork with. I, you know, I
absolutely adored him. He wasone of one of the good guys. And
the ladies I've doubled, youknow, I've been you know, you
(12:03):
have to double something that'sclose enough to your height. So
I've doubled Debbie Reynolds.
Doubled Debbie White, EstelleGetty, Klaus Leishman. I mean,
you know, the list goes on andon. I mean, it's just been very
(12:25):
I've been very lucky, very, verylucky. I can't complain at all.
Merry Elkins (12:29):
That's so so exciting. Well, in your book,
Stomp Lady Falling for theStars, I know that Bill Mummy
and the director Johnny Martinand Beau Bridges wrote forwards
to it. Can you talk about yourbook and working with them?
Sandy Gimpel (12:44):
Yeah. Beau Bridges turned out to be an incredible
friend of mine. He's god, he'slike family. And I actually met
Beau on Other Side of theMountain. I when we were doing
Other Side of Mountain.
I'd actually worked with himbefore, worked with his dad, but
never really got to know himuntil that show. And I got to
(13:08):
direct second units for him. Igot to coordinate for him. Got
to do seven hours of judgmentwhere he directed it and I kind
of was his helper, hisassistant. We did a show called
Sins of My Father that Beaudirected and his mom was on the
show and his dad, Lloyd was onthe show.
And basically what happens isthe father pushes the mother
(13:30):
down the stairs and you knowtries to get rid of her. And so
I ended up doubling Bo's momwhich was really great. So that
show was really And
Merry Elkins (13:43):
you had to get pushed down the stairs.
Sandy Gimpel (13:44):
I had get pushed down the stairs. Yes. I do that
a lot.
Merry Elkins (13:48):
Well, how how do you do that? How do you prepare
for that?
Sandy Gimpel (13:51):
You know, what I basically do is I have, like, a
eight inch wetsuit that I wearthat I put underneath my clothes
so that instead of having towear pads, stuck elbow pads,
knee pads that stick out, I putthe wetsuit on and it covers up
all the that you could actuallyget hurt, you know, where where
(14:18):
the pads aren't going to be. Andso How
Cathy Worthington (14:22):
did you know that a wet suit would protect
you in a fall? Did someone tellyou or you discovered that on
Sandy Gimpel (14:27):
your You know, I didn't. I kind of figured it out
myself because I noticed that alot of times when you just wear
your elbow pads, your knee pads,your back pad, you always get
nailed someplace or hurtsomeplace that the pads weren't
like on your upper thigh whereyou can't cover it or your
shins. You wear shin guards butthen you'd hit them and get hit
(14:49):
in the back or somewhere. So Ijust kind of figured out, you
know, if I get everythingcovered up, I get protected. And
it worked.
It worked perfectly. A lot ofstuff we learned Wow. You know,
growing up in the businessbasically, we we learned the
hard way. You know, we learnedit practical. And so it's kind
(15:10):
of frustrating when the kidsdon't ask questions of the older
stud people because we've donethings already.
There's really nothing new.
Cathy Worthington (15:21):
Did you break a bunch of bones?
Sandy Gimpel (15:23):
No. I broke my ribs a couple of times. My knees
were messed. I mean I've had Ifeel like the bionic woman. I've
had two knee replacements and ahip replacement.
Merry Elkins (15:35):
That'll take you out for a while.
Sandy Gimpel (15:37):
No, didn't. I worked three weeks after I had
my right knee replaced and drovethe car three days later. And
you know
Merry Elkins (15:47):
Well, that's good advice for older people so you
don't have to lay there formonths.
Sandy Gimpel (15:51):
I, you know, I don't take a lot of pills. I
don't take medicines and stufflike that. You know, you get
your hip replaced, your kneereplaced, it sends you home with
all these drugs. And I think thedrugs make you feel worse than
you know granted you have totake some pain medicine, but I
took Tylenol and it seemed towork for me. Now I do have a
(16:13):
high tolerance of pain.
I can you know ignore it prettywell.
Merry Elkins (16:16):
But You have to.
Sandy Gimpel (16:18):
You know, if the the knee replacements with wear
and tear, you know, like I'm afourth degree black belt. And in
Taekwondo, you do a lot ofkicks, a lot of flying
sidekicks, a lot of kicks. Youknow, all those snapping kicks,
you know, are hard on your body,you know, and there's nothing
(16:39):
you can do about it. But, youknow, thank God in this day and
age, you can get it fixed.
Merry Elkins (16:45):
Yeah. Well, backtrack
Sandy Gimpel (16:46):
a little bit. Tell
Merry Elkins (16:47):
us more about your book.
Sandy Gimpel (16:48):
My book. Well Let me show you my Yeah. Yep. Show
us the cover. They'll see it on
Merry Elkins (16:53):
But the cover, would you describe it, Sandy?
Sandy Gimpel (16:57):
Has a number that has you on it. It cover has
pictures of me being the saltvampire without the hood on.
There's a picture of me doublingBill, mommy on loss of space,
and of me doubling Barbara Eden.Me playing old lady which they
love a lot these days. And thegirl in the center basically I
(17:23):
had one of the gentlemen I knowis a cartoonist and he drew the
cartoon of me.
So I have that falling andthat's my book. And then inside
on the back is a picture of mesitting on my car. It's got
stories about all the shows I'vebeen most of the shows I've been
on. Backstories, what happenedon the sets, some of the about
(17:48):
the actors I've worked with andmy life, basically my life and
how I got
Merry Elkins (17:55):
A charmed life.
Cathy Worthington (17:56):
Well, we also know you love to cook. So how
did your cookbook Falling forFood come about?
Sandy Gimpel (18:03):
You know, I everybody keeps telling me to
make have to write a cookbook ordo podcast or do a show and I
keep going, yeah, yeah, yeah.But every time I cook and I cook
a lot, I put it up on Facebookor something and, you know, kind
of write out what I put on, youknow, how to make food. Oh,
nice. My dad and my mom bothcooked. My dad owned a
(18:27):
restaurant while I was growingup.
And I kind of learned to cookfrom both of them. And the big
problem with me writing thiscookbook, which is taking so
long is I don't measureanything. You know, when you
write a book you've got to sayhalf a teaspoon of this and one
of that. And I just kind ofthrow things in and taste just
(18:49):
to see if it tastes good and wego, okay, that's good. You know,
so I can tell you what I put insomething, but the amount is
hard.
Cathy Worthington (18:58):
Do you have to go back and recreate? You
have to recreate all the recipesbefore you
Sandy Gimpel (19:03):
can put them in everything, and I know what I've
put in everything, and I've gota pretty good idea of what, you
know, how much I've put in so Ican actually sit down and write
down, which is what I've beendoing, you know, write down.
Well, do you have
Merry Elkins (19:16):
a specialty? Like, are you better at desserts or
main meals?
Sandy Gimpel (19:23):
I'm terrible at desserts because I don't know
how to I bake in not reallygreat. My daughter's an amazing
baker. But I can cook anything,really. I mean, I I do cook a
lot of chicken because I don'teat red meat. So I eat I do I do
eat some pork.
(19:44):
I eat a lot of chicken. I eatfish, a lot of fish, you know,
and stuff like that. But and Ihave old recipes for my mom and
dad that we grew up. So it'skind of cool because I have
backstories about, you know, hercooking and dad cooking in the
restaurant and stuff.
Merry Elkins (20:03):
Oh, that sounds wonderful. Reminds you of home.
Sandy Gimpel (20:07):
Uh-huh. And hopefully I can get this done. I
mean, I'm working on it.
Merry Elkins (20:11):
You will. You will. You're known for your work
on Star Trek and Lost in Space.You that a little bit, but
please talk about that.
Sandy Gimpel (20:19):
Well, basically what happened was when I was
doing Lost in Space, theydecided to do the pilot, the
cage for Star Trek. And theycalled Paul Stater and said, do
you have anybody that's notallergic to the makeup and stuff
that we put on to make, youknow, glue on their face and
stuff? And he said, oh, yes. Ican give you Sandy next week.
(20:41):
She's not working because shedoes monsters on our show all
the time.
So that's how I got Star Trekand I got to do the Telogian
because that was all siliconeand you know, stuff glued to
your face and stuff like that. Alot of people break out from it.
So I did that show with JeffreyHunter and it needless to say,
didn't sell. And a year later,they called Star Trek called me
(21:07):
and said, are you available? Wewant you to come back and do the
Salt Vampire on Mantrap.
So I went back and got to dothat show with him. And never
thought much about it, you know,just go went in and worked and
then went on to do somethingelse and ended up being iconic
(21:29):
literally. I mean Yeah. I do alot of conventions and stuff,
Star Trek conventions because ofthose two shows. It's
unbelievable to me.
Merry Elkins (21:37):
Well tell our audience exactly what you had to
do as the salt vampire.
Sandy Gimpel (21:42):
Well as the salt vampire, vampire, I went in and
the first thing they did wasthey made a plaster cast of my
head. And which means they theyput a wall cap on you and then
they put plaster literally allover you. And you have to
breathe through a straw and theylet it harden, and then they pop
it off and make a mask that fitsonly you. They take they make
(22:06):
the costume for you and all ofthat, which is fine was fine
with me. I
Merry Elkins (22:11):
Was it eight inches thick so you could do
stunts?
Sandy Gimpel (22:14):
Pardon?
Merry Elkins (22:16):
Was it eight inches thick like the the wet
suit
Sandy Gimpel (22:19):
or someone could do the stunts? Thick. Yeah. I
mean, it's maybe a littlethicker than that even. The the
plaster, you know, they've gottahave it thick enough that it's
not gonna break so that they canput the silicone in and make
the, you know, make the mask outof it.
Cathy Worthington (22:32):
Mhmm.
Sandy Gimpel (22:32):
But the funny part is a lot lot of these guys,
which none are they they getclaustrophobic, and they can't
let it even dry. They startpulling it off. But anyway, they
made the costume for me and theyput me in the costume and put
the head on. They sewed the headonto the, you know, the costume
and they took me out on the set.Now there's a girl playing Nancy
(22:57):
as, you know, the real girl andme playing the monster.
They had to do it that waybecause it took too long to
switch back and forth. So theytook a plastic and put it in
front of the camera. Andwhenever they took me out or
took her out, they would draw usin the camera and then take them
(23:20):
out and put the other one in soit matched perfectly. And then
take the plastic out and startrolling the camera again. Well,
the problem with this costumewas the salt suckers that you
would I went to kill Schatnerwith were my fingers stuck here.
The suckers were out here. So Iwould walk up to him, and I hit
(23:44):
him in the head with my handsbecause, you know, you reach
with your hands. You don't thinkabout the suckers being way out
there. And I I no matter what Idid, I couldn't figure out how
to get it right. And I finallylooked at Gene Roddenberry who
was literally on the set all thetime and said, can you do me a
favor and take the hood, takethis whole thing off?
(24:06):
Let me count my steps. Let mefigure out where I am. And it's
just like a dance suit. Youfigure out where you are, you
know, stepwise. And and and thenI can do it.
And the other problem was Icouldn't see under the mask
because this if you look at thesalt vampire, the snout went way
(24:27):
out like this, which takes awayall your peripheral vision and
your your you can't see thefloor. And the eyes were
literally slits like that. Theywere not open enough. So he
agreed.
Cathy Worthington (24:43):
When you do the conventions, do you bring
part of the costume
Sandy Gimpel (24:46):
which you I don't have it. I got pictures, tons of
pictures of it, but I don't haveYeah. The costume.
Cathy Worthington (24:52):
So you're just finding pictures of you as
the monster when you go to theconferences. Right?
Sandy Gimpel (24:57):
Yep. I have it with Beholding the Head, which
is on the front of my my book.And then I also have it, you
know, all put together with megetting killed. And anyway, they
they agreed. And I dideverything I needed to do and
thank God Shatner didn't get madbecause I was panic struck,
know, here I am this nobody, youknow, and hitting a star in the
(25:21):
back of the head constantly.
They Oh, no. They I can't Ifigured out where I was and they
sewed everything back togetheragain and it worked perfectly.
Merry Elkins (25:32):
Did you have to do any stunts as the salt monster?
Sandy Gimpel (25:35):
Yeah. I get killed and I fall against the floor the
wall and then to the, you know.So I had I had to fall and do
all that stuff in there. And itwas a very tight quarters in
there, very small.
Cathy Worthington (25:48):
Well, I wanted to ask you how difficult
was it for you to break theglass ceiling and become a
director and stunt coordinator?
Sandy Gimpel (25:57):
That, you know okay. I had been coordinating,
which means I've been runningthe shows as a stunt
coordinator, hiring other stuntpeople, you know, or making
suggestions to for them to hire.You technically don't hire. So
I've been doing that a lot. Igot got lucky enough to do
enough shows by myself that Ikinda was coordinating myself.
(26:21):
So I learned how to say, well,can we do it this way? And can
we add another camera here? Youknow? I got to be vocal enough
that I was confident enough thatI was okay as a stunt
coordinator. And then I startedcoordinating shows.
And I I did Harbor Valley PTAwith Barbara Eden and a bunch of
(26:44):
shows at Universal because I waskind of at Universal. And Kate
Mulgrew was doing, missusColumbo, Kate Columbo. And I got
hired as their stuntcoordinator. And what happened
was they couldn't finish theshow. There was just too many
stunts on it.
They had a seven day shoot, andthey just couldn't finish it. So
(27:05):
I got called in the office andthis my production manager said,
k. We're gonna do a second unit,which means we're going to do a
unit with only the stunts. Andwe're gonna hire Bob, whatever
his name was, to cord to directsecond unit. And we want you
(27:25):
since you know the show, we wantyou on the show.
Make sure you, you know, youhelp him. Well, me and my big
mouth goes, I don't wanna helphim. I wanna direct Second Unit.
And they go and they're notgonna let you direct Second
Unit. There's no way that you'regonna direct Second Unit.
And I said, well, I'm not gonnahelp in that day, so you guys
(27:49):
figure out what you wanna do.And it was the end of the day,
and I literally left the office,sat in my car, and started
crying because I figured I blewthe stunt coordinating job too.
Only nice thing happened was myproduction manager adored me and
went to the Black Tower as itwas called at Universal and
(28:15):
talked to them. I don't knowwhat he said, but at 06:00 that
night or 07:00 that night, hecalled me and said, 9AM tomorrow
morning, sign your contract.We're buying you your DTA card
and your second
Merry Elkins (28:31):
payment. And
Cathy Worthington (28:35):
Yay. Bravo for the brave women.
Merry Elkins (28:37):
Yes. Kudos. Yeah.
Sandy Gimpel (28:41):
I'm sorry. It turned out really well because I
ended up directing Second Uniton every episode after that and
went on to direct Second Unitfor Bow and, you know, and other
shows at Universal. So it it wasa a good thing. So I really did
break glass The problem was atthat time in 1980, they were
(29:06):
very afraid to hire a woman todirect or to even stunt
coordinate because there was awoman at couple years before
that or a year I think it wastwo years before that at
twentieth Century Fox that wasstunt coordinating a show. I'm
(29:28):
not gonna talk about mention itbecause you guys know.
But, anyway, she wascoordinating a show, and she got
fired. That guys get fired allthe time. They go on and get
another show. Well, she suedFox. Yeah.
And every production company wasafraid to hire a woman that they
were gonna if she did anythingwrong or they had to fire her,
she would sue them. So they
Cathy Worthington (29:50):
Oh, dear.
Sandy Gimpel (29:51):
You know, they were panic struck.
Cathy Worthington (29:54):
Mhmm.
Sandy Gimpel (29:55):
With missus Columbo, with Kate Columbo, I
knew the producer that was doingthe show. And when I went in to
ask if I could coordinate theshow, he hemmed and hawed and
would look at me, literally, waslooking at his desk and would
not look at me. And I finallylooked at him and said, were you
afraid if you fire me, I I'm I'mgonna sue you guys? And he under
(30:17):
his breath, he kinda went, yeah.And I said, look.
I'll tell you what. If I doanything wrong, you can take me
by the ear in your office, and Iwill quit. And he said, let me
think about it. And he knew methat I was pretty true to my
word. And he called and said,got the show.
You can do it. So that's kind ofhow it all came about, you know,
(30:40):
and the kept going. God. Right?
Cathy Worthington (30:44):
You to be
Merry Elkins (30:47):
And have confidence.
Sandy Gimpel (30:50):
Yeah. That's little bit of vaccination. So
Merry Elkins (30:56):
on a totally other note, talk about some of the
funniest moments in
Sandy Gimpel (31:00):
your career. Oh my gosh. Probably the one that
sticks out in my mind the mostand most everybody has seen it
is the BAFTA Awards with SachaBaron Cohen. It was a few years
ago, not that long ago,actually. And if you go on
(31:22):
YouTube, it says Sacha BaronCohen kills presenter.
And, basically, nobody knew whatwas gonna happen. And I mean,
nobody. And the room was full ofevery big star you can think of.
I mean, George Clooney wasliterally sitting in front of
me. Selma Hyatt wheels me out ina wheelchair, supposed to be a
hundred and four years old, thelast living person to ever work
(31:45):
with Charlie Chaplin.
And I have a cane, and I presentit to Sasha and tell him that he
would love to have had it if hewas still alive. And he takes
the cane and he twirls it andacts like Charlie Chaplin leans
on it. It breaks. He hits thewheelchair I'm in and I go
flying off the stage into theaudience. Well, three and a half
(32:08):
hours of makeup later to make melook like I'm a hundred and four
years old, and nobody literallyknew what happened.
So we could not put pads on thefloor. We couldn't do anything.
I mean, the only pads I had,thank God, I had a long sleeve
dress on. My center coordinator,Alex Daniels, was amazing. Made
sure wardrobe dressed me so Icould put a couple pads on.
(32:31):
I had long sleeves and a biglong, you know, sequin gown. And
I was able to wear my elbow padsand my knee pads. And I took my
shin guards and put them on theback of my legs because I was
afraid the wheelchair was gonnahit me because it was coming off
the stage with me, which it didnot, but I was a little worried
about it. That was literally allthe pads we had, and and Alex
(32:54):
actually sat at one of thetables to make sure that nobody
turned their chairs into thislittle tiny space I had to fall
because if they did, I wouldhave fallen on them. And it
worked perfectly.
I mean, if you watch the video,you hear people gasp and then
they start laughing because theyknow it's Sasha. It hadn't, you
(33:15):
know, funny, but it was amazing.It was probably the best thing I
the funniest thing I've everdone. I mean, I'm laying on the
floor and he jumps down, turnsme over and tries to get him
mouth to mouth, and I'm bitingmy cheeks not to laugh. You
know, so that was that wasreally funny.
Merry Elkins (33:35):
I remember that. I saw it and it was, oh my god.
What just happened? And and ofcourse you had all this gray
hair and you looked really old,makeup and all of So what are
some of the most dangerousstunts you performed?
Sandy Gimpel (33:51):
The what?
Merry Elkins (33:53):
The the most dangerous stunts you Well,
Sandy Gimpel (33:59):
the ones you don't think are gonna be dangerous,
probably the one that sticks outin my mind the most is Bring
them Back Alive with Bruce BruceBotsleitner, the TV show that he
did. And we were out in Indiandunes with the helicopter crash
happened on Twilight Zone. Andit's in the Indian burial
(34:22):
ground, and there's supposedlyit's cursed, supposedly. Anyway,
there's a cliff, and it's ahundred feet straight up, and
they have a motorcycle withsidecar hanging off the edge of
the cliff. And the girl issupposed to be in the sidecar,
and Bruce Boxfightner swingsover on the rappelling line,
(34:43):
grabs her.
They swing back. The bike drops.It explodes. That's the stunt.
We get there at six in themorning and get dressed, and I
go out on the set, and the stuntdouble for Bruce wasn't done
yet.
They were still working on him.And they said, okay. You know,
(35:04):
we're gonna put you up in thething and it's all rigged and
don't have to worry about it.Well, the one thing I learned
growing up with my mentors wascheck your rigging. There's
nobody else on that rigging butyou.
If you're not happy, open yourmouth because they're not
they're not gonna get hurt. Youare. And I've always always
(35:28):
always remembered that. And Isaid, okay. Let me go take a
look at the rigging and makesure I'm happy before we do
this.
Oh, no. No. No. You can't dothat. We've got we hired a
mountain climber.
It's all safe. Don't worry aboutit. I said, I'm not getting on
it unless I see it. Well, ifthey could have fired me, they
probably would have because thattook time. That was twenty
(35:49):
minutes to get up on the otherside of the mountain to where it
was rigged.
Anyway, they finally agreedbecause I wasn't gonna get on
the rig. And I called you know,they called this guy down, and
he went with me. Pulled up tothe top of the mountain, and
there is an I hook in theground, huge I hook with the
(36:13):
rappelling line attached and themotorcycle attached with the
trip on the motorcycle so it'llfall. There's no backup ties on
anything. So we had enoughrappelling line that we were
able to wrap it around a treethat was close enough.
The water truck that was upthere would not let us hook up
(36:35):
to him, And we back up tied therappelling line. That's all we
could do. And, went back down.They took the cherry picker, got
me up a hundred feet in the airon the sidecar of the bikes.
Knives are no rigging on me atall.
I'm just holding on to the bike.Stunt double gets on the
rappelling line. They roll thecameras. He swings over, grabs
(36:58):
me, and we're supposed to swingback like this. Right?
We swing back like that. And thebike drops and explodes. And
it's interesting how time slowsdown when you're doing a stunt.
And I remember, and never forgetas long as I live, literally,
(37:19):
how all I could think was, oh mygod, the rappelling line got
stuck in the tweeves and youknow, you forgot that it was
retied. And you're holding ontothis, you're trying to hold onto
the mountain and think, well,you'll just, you know, climb
down 100 feet of mountain andthere's shale that's coming off
with your hands.
And this literally probably tookseconds and it felt like
(37:40):
minutes. Yelled down to thecrew, get get us down And I
remember looking at the crew,looking down, and they're
standing there with their mouthopen looking up. And Gary does
some double yells, and theymoved. Everybody started moving.
I mean, like I said, it tookseconds.
It felt like minutes. Got usdown. Mhmm. I hope he came out
(38:04):
of the ground. Now if we had nottied that backup, we would not
be doing this interview today.
Right. So that's that's whatmakes things dangerous. That's
literally what makes Right.
Cathy Worthington (38:19):
Right. And also, all during that time, you
were a single mom. So was itdifficult to be in a business
that
Sandy Gimpel (38:26):
You know, never thought of that.
Cathy Worthington (38:27):
And inspired you to work?
Sandy Gimpel (38:28):
I was never really that afraid of things.
Cathy Worthington (38:30):
You didn't? Those those long hours you were
away from
Sandy Gimpel (38:34):
her and back where you were working. Know? Scary
Sister took care of her a lot. Ihad a girlfriend that was her
husband was an assistantdirector, so he worked he did
halt the hulk and things likethat. So she and they lived very
close, so she would be took careof her a lot too.
(38:55):
Even you know, I I was veryblessed blessed as people, you
know, close friends and family,you know, taking care of her.
There's not much you can doabout the hours. They're long
and they're night, a lot of themare night shoots. Night shoots
actually better because then shewould, you know, be sleeping,
but somebody had to pick her upfrom school and, you know,
(39:15):
things like that. But it didn'tmatter really what you did in
our business because when I didCorgiavetti's father, our script
supervisor, her son was youngand she would have to go pick
him up from school every daybecause she didn't have anybody.
(39:36):
So I would hold script for herwhile she was gone for the hour
to go get her son to bring himback. So we all kinda go
through, you know, differentphases of problems and you just
figure out how to work them out.Yeah.
Cathy Worthington (39:49):
You had such a strong community around you,
it sounds like, and you've livedsuch a rich and exciting life.
And what would you like ouraudience to have as a takeaway
today? Do you have any specialadvice?
Sandy Gimpel (40:03):
I gotta tell you. Dave, everybody says, what are
you gonna do when you grow up?Well, first of all, I'm never
gonna grow up. I don't wannagrow up. But if you don't stop,
you know, I've just seen toomany people retire and then sit
on the couch and do don't doanything and they get old within
(40:24):
a year.
It's just unbelievable to mewhat happens to them. I mean, if
I'm not working, which you know,there's times in our business
it's rough and you don't workall the time. I go to the gym
four or five days a week andmake sure I'm working out all
the time because I've got tokeep my body in good condition.
(40:44):
And, you know, you drag yourselfto the gym, but once you're
there, you feel pretty darngood. You know.
And it keeps you vital, youknow. It just if you don't stop,
even if you have if you can't goto the gym and you go out and
walk, you know, walk and walkand walk and keep your body
(41:05):
moving, it's gonna keep youyounger. And and I eat as
healthy as I can. We all screwaround and splurge, of course.
Yeah.
But as a general rule, I mean, Ieat pretty healthy vegetables
and, you know, fish and chickenand salads and stuff like that.
(41:25):
But I don't eat fast food. Idon't drink Cokes and Diet Cokes
or any of that stuff. I Ihaven't had any of that in
years. It's just, you know
Merry Elkins (41:39):
Keep moving.
Sandy Gimpel (41:40):
Keep moving.
Cathy Worthington (41:41):
Keep moving is the best Yeah.
Merry Elkins (41:44):
It's great. Keep on keeping on. I love it, Dan.
Yeah. Thank you so much.
You've got some really greatadvice for all of us out there
at every age, really, not justpeople who are older. Our guest
today on Late Boomers has beenSandy Gimpel, stunt lady for the
stars, author, producer, stuntcoordinator, and director. You
(42:09):
can learn more about Sandythrough her website,
sandragimpel.com. And that's s an d r a g I m p e l dot com. And
you can meet her at her StarTrek tours throughout The United
States.
There's so much more that Icould ask you that I'm sure our
audience would love to know. Sohopefully you'll come back and
(42:31):
do another podcast with us.
Sandy Gimpel (42:33):
Thank you. Thank you so much.
Cathy Worthington (42:34):
And tune in turning next week when we'll be
meeting another exciting guest,Rhonda Britton, who will share
some great tips. Pleasesubscribe to our late bloomers
podcast on YouTube and take usalong in the car and on walks on
your favorite audio platform.Let us know what gets you
inspired. We're on Instagram atI am Kathy Worthington and at I
(42:58):
am Mary Elkins and at lateboomers. Please tell your
friends all about us.
Thanks again,
Sandy Gimpel (43:05):
so much. I appreciate you having me.
Merry Elkins (43:09):
Great.
Cathy Worthington (43:10):
It was a pleasure.
Thank you for joining us on late boomers, the
podcast that is your guide tocreating a third act with style,
power, and impact. Please visitour website and get in touch
(43:31):
with us at late boomers dot biz.If you would to listen to or
download other episodes of lateboomers, go to
ewnpodcastnetwork.com.
Merry Elkins (43:43):
This podcast is also available on Spotify, Apple
Podcast, and most other majorpodcast sites. We hope you make
use of the wisdom you've gainedhere and that you enjoy a
successful third act with yourown style, power, and impact.
This is the EWN Podcast Network.
Cathy Worthington (00:14):
Welcome to late boomers, our podcast guide
to creating your third act withstyle, power, and impact. Hi.
I'm Kathy Worthington.
Merry Elkins (00:24):
And I'm Mary Elkins. Join us as we bring you
conversations with successfulentrepreneurs, entertainers, and
people with vision who aremaking a difference in the
world.
Cathy Worthington (00:34):
Everyone has a story, and we'll take you
along for the ride on eachinterview, recounting the
journey our guests have taken toget where they are, inspiring
you to create your own path tosuccess. Let's get started.
Hello. I'm Kathy Worthington welcoming you
(00:54):
to an exciting new episode oflate boobers. Our special guest
today has jumped out of windowsand off buildings, fallen from
tightwires and down flights ofstairs, been burned in fires,
held her own in fights with menand women, and driven cars off
cliffs just for example. Whatcould that be? She's the stunt
(01:16):
lady for the stars, SandyGimpel.
Merry Elkins (01:20):
And I'm Mary Elkins. And not only that, at 85
years old, she's still jumpingfrom buildings. She's won
numerous awards for her work asa stunt coordinator and was the
first stunt woman to become asecond unit director. She's also
a producer, an actress anddancer, and a fourth degree
taekwondo black belt. And she'sthe author of the book Falling
(01:46):
for the Stars, and soon hercookbook Falling for Food will
be published.
Welcome, Sandy.
Sandy Gimpel (01:53):
Thank you for having me.
Merry Elkins (01:56):
To have you.
Cathy Worthington (01:58):
Please tell us about your background and how
you got into show business andstunt work.
Sandy Gimpel (02:03):
Oh my gosh. Well, mom started me dancing when I
was like three years old to keepme out of trouble. And
seriously, she was very goodabout making sure that my sister
and I were very busy so that we,you know, didn't get into
anything. Did it work? No.
It did not work. I mean, I haveto come home with black and blue
(02:26):
marks and she go, oh my god.What happened to you? And I go,
what? What are you talkingabout?
Nothing. And anyway, thedancing, you know, I just kept
dancing afterwards and shewanted me to go to school and
become a teacher. And I actuallywent to school, got my applied
(02:48):
arts degree and certainly didn'twant to teach. But what happened
was there was an audition for ashow out here in California
called Pacific Ocean Park. Itwas a big theme park out at the
ocean.
They were looking for dancers tobe Jack and Jill and bring the
(03:09):
people into the park. And so Iwent and auditioned because I
knew I had a lot of my friendswere dancers. So I went and
auditioned for the show anddidn't get the job and was very
disappointed. And so I signed upto go to school to get my third
degree, you know, my third yearof school. And a week later I
(03:31):
got a phone call from MiriamNelson who was our choreographer
and she said, you still want thejob?
And I said, absolutely. And shesaid, well, one of our girls is
pregnant and she can't do it soshe quit. So the job's yours. So
I did that show for three yearsas a dancer. And when the three
(03:53):
years was up, I auditioned forThe Pleasure of His Company with
Fred Astaire and Debbie Reynoldsas a dancer and got in in the
entertainment business that waybecause I got picked to, you
know, be one of the dancers onthe show and never looked back
and just went on working as adancer, ending up doing 15
(04:16):
movies with Elvis Presley.
I was one of his five And whenhe decided he wasn't going to do
movies anymore and go back toLas Vegas and, you know, do live
shows. I was already in theindustry and I had been working,
doing some background work anddoing some acting. I, you know,
(04:39):
working with Bill Bixby and afew other people. And I did lost
his face. And what happened wasElvis wasn't doing a movie, so
they sent me out to audition tostand in, which means when they
like lights, set the cameras,you're standing in.
And they needed a new stand infor Bill Mummy who was 11 years
(05:00):
old. And so I auditioned andusually all they care about is
how tall you are and if thecoloring is correct and that's
all they care about. Well, thisaudition there was like eight or
nine guys sitting at a tableasking me all these questions
about my background and mycoordination and all of this.
(05:21):
And one guy stood up and said,so have you ever thought about
doing stunts? And I swear to youon a bible, I said, what's a
stunt?
Because I had no idea what hewas talking about.
Merry Elkins (05:34):
That's my next question to you. What not
everyone in our audience knowswhat stunt work is or what
doubling for an actor involves.So go on and tell us more.
Sandy Gimpel (05:45):
Well, basically what happened was his name was
Paul Stater and he was the stuntcoordinator, which means he
hires the stunt people. And hesaid, you can stand in for Bill
and stunt double him if you cometo the gym three days a week and
we will teach you how to dostunts.
Merry Elkins (06:04):
Wow.
Sandy Gimpel (06:05):
And I was 22 years old and I said, sounds good to
me. And so
Cathy Worthington (06:12):
I wanted to ask you also who were your
mentors. So that was number onethen.
Sandy Gimpel (06:16):
That was my very first mentor. Absolutely. But
Uh-huh. Taught me how to doliterally, I was going to the
gym with five or six or sevenstunt guys that were in the
stuntman's association andlearning how to do fights,
learning how to do high falls,learning how to sword fight.
(06:37):
Just all basic kind of stuffthat you need, you know, to fall
down.
And the wire work came later inmy you know, because they were
doing a lot of wire work then,everything was more practical.
Cathy Worthington (06:51):
And
Sandy Gimpel (06:53):
I ended up on Lots of Space not only doubling Bill,
but I ended up doing thevoiceovers. I ended up playing
monsters on the show. And Inever looked back. I mean I just
kept working after that andthere was really two people that
doubled kids in those days. Thatone was myself and one was oh
(07:20):
goodness, I just lost his name.
Anyway, he
Merry Elkins (07:24):
He'll come to you.
Sandy Gimpel (07:25):
You know, it was He was a male. Was a guy. A guy
and me. And the funny part washe was littler than I was. He
was skinnier.
And half the time he woulddouble the girl and I would
double the boy.
Cathy Worthington (07:38):
That's That's great.
Sandy Gimpel (07:40):
But yeah. So I just, you know, I just kept
working and I got very I'm veryblessed. I no complaints. I
absolutely love love love mylife.
Cathy Worthington (07:50):
Well, tell us what it was like working with
Elvis. And also tell us aboutsome of the most memorable
people and He
Sandy Gimpel (08:00):
was amazing. He was, you know, just the most
gracious person you'd ever meetin your life. And it was really
interesting because there wereyou know, girls were coming and
going and dating him and, youknow, and everybody kept saying,
well, did you date him? Did youdate him? And I never did
because basically, I had adaughter at the time that was
(08:21):
very young.
You know, she was like two orthree years three years old, I
guess, when I first startedworking with him. And I needed
to work. I was a single mom andI needed to work. And And I
watched the girls that dated himcome and go. And I thought, you
can't come and go.
And his guys, his mafia guys,Joe Esposito and Charlie Hague
(08:43):
and those guys decided theyliked me and they were gonna
keep me out of trouble. And so Ikinda got connected more with
the boys than I did, you know,with him. And I got to go to
rehearsals and sit in while theywere playing, you know, just
working things out musically. Igot to go play softball with
(09:04):
them when they go play softballwith out of Veterans Hospital.
Elvis loved to play softball.
And I'd go to the house in BelAir and got to play games. And
so I got to be in the innercircle and more so than other
girls did because I was kind oflike one of the boys, which was
(09:27):
really
Cathy Worthington (09:28):
You were very you were very wise for your
years.
Merry Elkins (09:32):
Absolutely. Yeah.
Cathy Worthington (09:34):
It was You didn't fall into that Hollywood,
Charlotte category.
Sandy Gimpel (09:39):
Yeah. You know? Yeah. Yeah. I was Amazing.
Really lucky. You know? And youdon't realize it when things are
happening, especially in mybusiness. You know? You just go
in and work and you go home andyou do your next job and you
know, you don't think about it.
You just realize later on inlife.
Cathy Worthington (09:59):
And then you get to go play softball.
Merry Elkins (10:02):
I know. Absolutely. That's not a bad gig
at all.
Sandy Gimpel (10:06):
No. I mean It's really fun.
Merry Elkins (10:08):
And and you did what? How many? 15 movies with
Elvis?
Sandy Gimpel (10:11):
I did 15 movies. That's one of his five dancers
that he just wanted back all thetime. In fact, they were doing a
picture at MGM called it wascalled Chautauqua at the time.
And I think they changed it toGirls, Girls, Girls or it was
one of the girls movies. Hehadn't done he wasn't he was
(10:33):
between movies before theystarted that.
So I was doing Coach of Betty'sFather with Bill Bixby and doing
a little acting part on it andstand standing in on the show.
And the funny story is Elvis wascoming back from lunch from the
commissary and Bill Vicks and Iwere going to lunch and we met
(10:54):
in the middle of, you know, thestreet on the lot And they're
talking. They were really goodfriends. And they're they're
talking like I wasn't eventhere. And and Elvis looks at me
and looks at Bill and looks atme and goes, what are you doing
on his show?
And I went, well, you were busyand you weren't doing anything,
so I needed to work. And helooked at Bix and he said, when
(11:17):
are you guys rapping? And hesaid, another week. And he and
he goes back, okay. I want youtalking to the producer as soon
as you wrap and you're back onmy show.
He said, yes. So that was thekind of relationship we had. It
was kinda cool. Yeah. Good.
Merry Elkins (11:33):
Yeah. Can you talk more about some of the more
memorable people you've workedwith or or some of the moments
in your career?
Sandy Gimpel (11:42):
Who I've worked with? That's uncomfortable. You
know? Yeah. I you know, I'vebeen very lucky.
I mean, the Bixby was amazing towork with. I, you know, I
absolutely adored him. He wasone of one of the good guys. And
the ladies I've doubled, youknow, I've been you know, you
(12:03):
have to double something that'sclose enough to your height. So
I've doubled Debbie Reynolds.
Doubled Debbie White, EstelleGetty, Klaus Leishman. I mean,
you know, the list goes on andon. I mean, it's just been very
(12:25):
I've been very lucky, very, verylucky. I can't complain at all.
Merry Elkins (12:29):
That's so so exciting. Well, in your book,
Stomp Lady Falling for theStars, I know that Bill Mummy
and the director Johnny Martinand Beau Bridges wrote forwards
to it. Can you talk about yourbook and working with them?
Sandy Gimpel (12:44):
Yeah. Beau Bridges turned out to be an incredible
friend of mine. He's god, he'slike family. And I actually met
Beau on Other Side of theMountain. I when we were doing
Other Side of Mountain.
I'd actually worked with himbefore, worked with his dad, but
never really got to know himuntil that show. And I got to
(13:08):
direct second units for him. Igot to coordinate for him. Got
to do seven hours of judgmentwhere he directed it and I kind
of was his helper, hisassistant. We did a show called
Sins of My Father that Beaudirected and his mom was on the
show and his dad, Lloyd was onthe show.
And basically what happens isthe father pushes the mother
(13:30):
down the stairs and you knowtries to get rid of her. And so
I ended up doubling Bo's momwhich was really great. So that
show was really And
Merry Elkins (13:43):
you had to get pushed down the stairs.
Sandy Gimpel (13:44):
I had get pushed down the stairs. Yes. I do that
a lot.
Merry Elkins (13:48):
Well, how how do you do that? How do you prepare
for that?
Sandy Gimpel (13:51):
You know, what I basically do is I have, like, a
eight inch wetsuit that I wearthat I put underneath my clothes
so that instead of having towear pads, stuck elbow pads,
knee pads that stick out, I putthe wetsuit on and it covers up
all the that you could actuallyget hurt, you know, where where
(14:18):
the pads aren't going to be. Andso How
Cathy Worthington (14:22):
did you know that a wet suit would protect
you in a fall? Did someone tellyou or you discovered that on
Sandy Gimpel (14:27):
your You know, I didn't. I kind of figured it out
myself because I noticed that alot of times when you just wear
your elbow pads, your knee pads,your back pad, you always get
nailed someplace or hurtsomeplace that the pads weren't
like on your upper thigh whereyou can't cover it or your
shins. You wear shin guards butthen you'd hit them and get hit
(14:49):
in the back or somewhere. So Ijust kind of figured out, you
know, if I get everythingcovered up, I get protected. And
it worked.
It worked perfectly. A lot ofstuff we learned Wow. You know,
growing up in the businessbasically, we we learned the
hard way. You know, we learnedit practical. And so it's kind
(15:10):
of frustrating when the kidsdon't ask questions of the older
stud people because we've donethings already.
There's really nothing new.
Cathy Worthington (15:21):
Did you break a bunch of bones?
Sandy Gimpel (15:23):
No. I broke my ribs a couple of times. My knees
were messed. I mean I've had Ifeel like the bionic woman. I've
had two knee replacements and ahip replacement.
Merry Elkins (15:35):
That'll take you out for a while.
Sandy Gimpel (15:37):
No, didn't. I worked three weeks after I had
my right knee replaced and drovethe car three days later. And
you know
Merry Elkins (15:47):
Well, that's good advice for older people so you
don't have to lay there formonths.
Sandy Gimpel (15:51):
I, you know, I don't take a lot of pills. I
don't take medicines and stufflike that. You know, you get
your hip replaced, your kneereplaced, it sends you home with
all these drugs. And I think thedrugs make you feel worse than
you know granted you have totake some pain medicine, but I
took Tylenol and it seemed towork for me. Now I do have a
(16:13):
high tolerance of pain.
I can you know ignore it prettywell.
Merry Elkins (16:16):
But You have to.
Sandy Gimpel (16:18):
You know, if the the knee replacements with wear
and tear, you know, like I'm afourth degree black belt. And in
Taekwondo, you do a lot ofkicks, a lot of flying
sidekicks, a lot of kicks. Youknow, all those snapping kicks,
you know, are hard on your body,you know, and there's nothing
(16:39):
you can do about it. But, youknow, thank God in this day and
age, you can get it fixed.
Merry Elkins (16:45):
Yeah. Well, backtrack
Sandy Gimpel (16:46):
a little bit. Tell
Merry Elkins (16:47):
us more about your book.
Sandy Gimpel (16:48):
My book. Well Let me show you my Yeah. Yep. Show
us the cover. They'll see it on
Merry Elkins (16:53):
But the cover, would you describe it, Sandy?
Sandy Gimpel (16:57):
Has a number that has you on it. It cover has
pictures of me being the saltvampire without the hood on.
There's a picture of me doublingBill, mommy on loss of space,
and of me doubling Barbara Eden.Me playing old lady which they
love a lot these days. And thegirl in the center basically I
(17:23):
had one of the gentlemen I knowis a cartoonist and he drew the
cartoon of me.
So I have that falling andthat's my book. And then inside
on the back is a picture of mesitting on my car. It's got
stories about all the shows I'vebeen most of the shows I've been
on. Backstories, what happenedon the sets, some of the about
(17:48):
the actors I've worked with andmy life, basically my life and
how I got
Merry Elkins (17:55):
A charmed life.
Cathy Worthington (17:56):
Well, we also know you love to cook. So how
did your cookbook Falling forFood come about?
Sandy Gimpel (18:03):
You know, I everybody keeps telling me to
make have to write a cookbook ordo podcast or do a show and I
keep going, yeah, yeah, yeah.But every time I cook and I cook
a lot, I put it up on Facebookor something and, you know, kind
of write out what I put on, youknow, how to make food. Oh,
nice. My dad and my mom bothcooked. My dad owned a
(18:27):
restaurant while I was growingup.
And I kind of learned to cookfrom both of them. And the big
problem with me writing thiscookbook, which is taking so
long is I don't measureanything. You know, when you
write a book you've got to sayhalf a teaspoon of this and one
of that. And I just kind ofthrow things in and taste just
(18:49):
to see if it tastes good and wego, okay, that's good. You know,
so I can tell you what I put insomething, but the amount is
hard.
Cathy Worthington (18:58):
Do you have to go back and recreate? You
have to recreate all the recipesbefore you
Sandy Gimpel (19:03):
can put them in everything, and I know what I've
put in everything, and I've gota pretty good idea of what, you
know, how much I've put in so Ican actually sit down and write
down, which is what I've beendoing, you know, write down.
Well, do you have
Merry Elkins (19:16):
a specialty? Like, are you better at desserts or
main meals?
Sandy Gimpel (19:23):
I'm terrible at desserts because I don't know
how to I bake in not reallygreat. My daughter's an amazing
baker. But I can cook anything,really. I mean, I I do cook a
lot of chicken because I don'teat red meat. So I eat I do I do
eat some pork.
(19:44):
I eat a lot of chicken. I eatfish, a lot of fish, you know,
and stuff like that. But and Ihave old recipes for my mom and
dad that we grew up. So it'skind of cool because I have
backstories about, you know, hercooking and dad cooking in the
restaurant and stuff.
Merry Elkins (20:03):
Oh, that sounds wonderful. Reminds you of home.
Sandy Gimpel (20:07):
Uh-huh. And hopefully I can get this done. I
mean, I'm working on it.
Merry Elkins (20:11):
You will. You will. You're known for your work
on Star Trek and Lost in Space.You that a little bit, but
please talk about that.
Sandy Gimpel (20:19):
Well, basically what happened was when I was
doing Lost in Space, theydecided to do the pilot, the
cage for Star Trek. And theycalled Paul Stater and said, do
you have anybody that's notallergic to the makeup and stuff
that we put on to make, youknow, glue on their face and
stuff? And he said, oh, yes. Ican give you Sandy next week.
(20:41):
She's not working because shedoes monsters on our show all
the time.
So that's how I got Star Trekand I got to do the Telogian
because that was all siliconeand you know, stuff glued to
your face and stuff like that. Alot of people break out from it.
So I did that show with JeffreyHunter and it needless to say,
didn't sell. And a year later,they called Star Trek called me
(21:07):
and said, are you available? Wewant you to come back and do the
Salt Vampire on Mantrap.
So I went back and got to dothat show with him. And never
thought much about it, you know,just go went in and worked and
then went on to do somethingelse and ended up being iconic
(21:29):
literally. I mean Yeah. I do alot of conventions and stuff,
Star Trek conventions because ofthose two shows. It's
unbelievable to me.
Merry Elkins (21:37):
Well tell our audience exactly what you had to
do as the salt vampire.
Sandy Gimpel (21:42):
Well as the salt vampire, vampire, I went in and
the first thing they did wasthey made a plaster cast of my
head. And which means they theyput a wall cap on you and then
they put plaster literally allover you. And you have to
breathe through a straw and theylet it harden, and then they pop
it off and make a mask that fitsonly you. They take they make
(22:06):
the costume for you and all ofthat, which is fine was fine
with me. I
Merry Elkins (22:11):
Was it eight inches thick so you could do
stunts?
Sandy Gimpel (22:14):
Pardon?
Merry Elkins (22:16):
Was it eight inches thick like the the wet
suit
Sandy Gimpel (22:19):
or someone could do the stunts? Thick. Yeah. I
mean, it's maybe a littlethicker than that even. The the
plaster, you know, they've gottahave it thick enough that it's
not gonna break so that they canput the silicone in and make
the, you know, make the mask outof it.
Cathy Worthington (22:32):
Mhmm.
Sandy Gimpel (22:32):
But the funny part is a lot lot of these guys,
which none are they they getclaustrophobic, and they can't
let it even dry. They startpulling it off. But anyway, they
made the costume for me and theyput me in the costume and put
the head on. They sewed the headonto the, you know, the costume
and they took me out on the set.Now there's a girl playing Nancy
(22:57):
as, you know, the real girl andme playing the monster.
They had to do it that waybecause it took too long to
switch back and forth. So theytook a plastic and put it in
front of the camera. Andwhenever they took me out or
took her out, they would draw usin the camera and then take them
(23:20):
out and put the other one in soit matched perfectly. And then
take the plastic out and startrolling the camera again. Well,
the problem with this costumewas the salt suckers that you
would I went to kill Schatnerwith were my fingers stuck here.
The suckers were out here. So Iwould walk up to him, and I hit
(23:44):
him in the head with my handsbecause, you know, you reach
with your hands. You don't thinkabout the suckers being way out
there. And I I no matter what Idid, I couldn't figure out how
to get it right. And I finallylooked at Gene Roddenberry who
was literally on the set all thetime and said, can you do me a
favor and take the hood, takethis whole thing off?
(24:06):
Let me count my steps. Let mefigure out where I am. And it's
just like a dance suit. Youfigure out where you are, you
know, stepwise. And and and thenI can do it.
And the other problem was Icouldn't see under the mask
because this if you look at thesalt vampire, the snout went way
(24:27):
out like this, which takes awayall your peripheral vision and
your your you can't see thefloor. And the eyes were
literally slits like that. Theywere not open enough. So he
agreed.
Cathy Worthington (24:43):
When you do the conventions, do you bring
part of the costume
Sandy Gimpel (24:46):
which you I don't have it. I got pictures, tons of
pictures of it, but I don't haveYeah. The costume.
Cathy Worthington (24:52):
So you're just finding pictures of you as
the monster when you go to theconferences. Right?
Sandy Gimpel (24:57):
Yep. I have it with Beholding the Head, which
is on the front of my my book.And then I also have it, you
know, all put together with megetting killed. And anyway, they
they agreed. And I dideverything I needed to do and
thank God Shatner didn't get madbecause I was panic struck,
know, here I am this nobody, youknow, and hitting a star in the
(25:21):
back of the head constantly.
They Oh, no. They I can't Ifigured out where I was and they
sewed everything back togetheragain and it worked perfectly.
Merry Elkins (25:32):
Did you have to do any stunts as the salt monster?
Sandy Gimpel (25:35):
Yeah. I get killed and I fall against the floor the
wall and then to the, you know.So I had I had to fall and do
all that stuff in there. And itwas a very tight quarters in
there, very small.
Cathy Worthington (25:48):
Well, I wanted to ask you how difficult
was it for you to break theglass ceiling and become a
director and stunt coordinator?
Sandy Gimpel (25:57):
That, you know okay. I had been coordinating,
which means I've been runningthe shows as a stunt
coordinator, hiring other stuntpeople, you know, or making
suggestions to for them to hire.You technically don't hire. So
I've been doing that a lot. Igot got lucky enough to do
enough shows by myself that Ikinda was coordinating myself.
(26:21):
So I learned how to say, well,can we do it this way? And can
we add another camera here? Youknow? I got to be vocal enough
that I was confident enough thatI was okay as a stunt
coordinator. And then I startedcoordinating shows.
And I I did Harbor Valley PTAwith Barbara Eden and a bunch of
(26:44):
shows at Universal because I waskind of at Universal. And Kate
Mulgrew was doing, missusColumbo, Kate Columbo. And I got
hired as their stuntcoordinator. And what happened
was they couldn't finish theshow. There was just too many
stunts on it.
They had a seven day shoot, andthey just couldn't finish it. So
(27:05):
I got called in the office andthis my production manager said,
k. We're gonna do a second unit,which means we're going to do a
unit with only the stunts. Andwe're gonna hire Bob, whatever
his name was, to cord to directsecond unit. And we want you
(27:25):
since you know the show, we wantyou on the show.
Make sure you, you know, youhelp him. Well, me and my big
mouth goes, I don't wanna helphim. I wanna direct Second Unit.
And they go and they're notgonna let you direct Second
Unit. There's no way that you'regonna direct Second Unit.
And I said, well, I'm not gonnahelp in that day, so you guys
(27:49):
figure out what you wanna do.And it was the end of the day,
and I literally left the office,sat in my car, and started
crying because I figured I blewthe stunt coordinating job too.
Only nice thing happened was myproduction manager adored me and
went to the Black Tower as itwas called at Universal and
(28:15):
talked to them. I don't knowwhat he said, but at 06:00 that
night or 07:00 that night, hecalled me and said, 9AM tomorrow
morning, sign your contract.We're buying you your DTA card
and your second
Merry Elkins (28:31):
payment. And
Cathy Worthington (28:35):
Yay. Bravo for the brave women.
Merry Elkins (28:37):
Yes. Kudos. Yeah.
Sandy Gimpel (28:41):
I'm sorry. It turned out really well because I
ended up directing Second Uniton every episode after that and
went on to direct Second Unitfor Bow and, you know, and other
shows at Universal. So it it wasa a good thing. So I really did
break glass The problem was atthat time in 1980, they were
(29:06):
very afraid to hire a woman todirect or to even stunt
coordinate because there was awoman at couple years before
that or a year I think it wastwo years before that at
twentieth Century Fox that wasstunt coordinating a show. I'm
(29:28):
not gonna talk about mention itbecause you guys know.
But, anyway, she wascoordinating a show, and she got
fired. That guys get fired allthe time. They go on and get
another show. Well, she suedFox. Yeah.
And every production company wasafraid to hire a woman that they
were gonna if she did anythingwrong or they had to fire her,
she would sue them. So they
Cathy Worthington (29:50):
Oh, dear.
Sandy Gimpel (29:51):
You know, they were panic struck.
Cathy Worthington (29:54):
Mhmm.
Sandy Gimpel (29:55):
With missus Columbo, with Kate Columbo, I
knew the producer that was doingthe show. And when I went in to
ask if I could coordinate theshow, he hemmed and hawed and
would look at me, literally, waslooking at his desk and would
not look at me. And I finallylooked at him and said, were you
afraid if you fire me, I I'm I'mgonna sue you guys? And he under
(30:17):
his breath, he kinda went, yeah.And I said, look.
I'll tell you what. If I doanything wrong, you can take me
by the ear in your office, and Iwill quit. And he said, let me
think about it. And he knew methat I was pretty true to my
word. And he called and said,got the show.
You can do it. So that's kind ofhow it all came about, you know,
(30:40):
and the kept going. God. Right?
Cathy Worthington (30:44):
You to be
Merry Elkins (30:47):
And have confidence.
Sandy Gimpel (30:50):
Yeah. That's little bit of vaccination. So
Merry Elkins (30:56):
on a totally other note, talk about some of the
funniest moments in
Sandy Gimpel (31:00):
your career. Oh my gosh. Probably the one that
sticks out in my mind the mostand most everybody has seen it
is the BAFTA Awards with SachaBaron Cohen. It was a few years
ago, not that long ago,actually. And if you go on
(31:22):
YouTube, it says Sacha BaronCohen kills presenter.
And, basically, nobody knew whatwas gonna happen. And I mean,
nobody. And the room was full ofevery big star you can think of.
I mean, George Clooney wasliterally sitting in front of
me. Selma Hyatt wheels me out ina wheelchair, supposed to be a
hundred and four years old, thelast living person to ever work
(31:45):
with Charlie Chaplin.
And I have a cane, and I presentit to Sasha and tell him that he
would love to have had it if hewas still alive. And he takes
the cane and he twirls it andacts like Charlie Chaplin leans
on it. It breaks. He hits thewheelchair I'm in and I go
flying off the stage into theaudience. Well, three and a half
(32:08):
hours of makeup later to make melook like I'm a hundred and four
years old, and nobody literallyknew what happened.
So we could not put pads on thefloor. We couldn't do anything.
I mean, the only pads I had,thank God, I had a long sleeve
dress on. My center coordinator,Alex Daniels, was amazing. Made
sure wardrobe dressed me so Icould put a couple pads on.
(32:31):
I had long sleeves and a biglong, you know, sequin gown. And
I was able to wear my elbow padsand my knee pads. And I took my
shin guards and put them on theback of my legs because I was
afraid the wheelchair was gonnahit me because it was coming off
the stage with me, which it didnot, but I was a little worried
about it. That was literally allthe pads we had, and and Alex
(32:54):
actually sat at one of thetables to make sure that nobody
turned their chairs into thislittle tiny space I had to fall
because if they did, I wouldhave fallen on them. And it
worked perfectly.
I mean, if you watch the video,you hear people gasp and then
they start laughing because theyknow it's Sasha. It hadn't, you
(33:15):
know, funny, but it was amazing.It was probably the best thing I
the funniest thing I've everdone. I mean, I'm laying on the
floor and he jumps down, turnsme over and tries to get him
mouth to mouth, and I'm bitingmy cheeks not to laugh. You
know, so that was that wasreally funny.
Merry Elkins (33:35):
I remember that. I saw it and it was, oh my god.
What just happened? And and ofcourse you had all this gray
hair and you looked really old,makeup and all of So what are
some of the most dangerousstunts you performed?
Sandy Gimpel (33:51):
The what?
Merry Elkins (33:53):
The the most dangerous stunts you Well,
Sandy Gimpel (33:59):
the ones you don't think are gonna be dangerous,
probably the one that sticks outin my mind the most is Bring
them Back Alive with Bruce BruceBotsleitner, the TV show that he
did. And we were out in Indiandunes with the helicopter crash
happened on Twilight Zone. Andit's in the Indian burial
(34:22):
ground, and there's supposedlyit's cursed, supposedly. Anyway,
there's a cliff, and it's ahundred feet straight up, and
they have a motorcycle withsidecar hanging off the edge of
the cliff. And the girl issupposed to be in the sidecar,
and Bruce Boxfightner swingsover on the rappelling line,
(34:43):
grabs her.
They swing back. The bike drops.It explodes. That's the stunt.
We get there at six in themorning and get dressed, and I
go out on the set, and the stuntdouble for Bruce wasn't done
yet.
They were still working on him.And they said, okay. You know,
(35:04):
we're gonna put you up in thething and it's all rigged and
don't have to worry about it.Well, the one thing I learned
growing up with my mentors wascheck your rigging. There's
nobody else on that rigging butyou.
If you're not happy, open yourmouth because they're not
they're not gonna get hurt. Youare. And I've always always
(35:28):
always remembered that. And Isaid, okay. Let me go take a
look at the rigging and makesure I'm happy before we do
this.
Oh, no. No. No. You can't dothat. We've got we hired a
mountain climber.
It's all safe. Don't worry aboutit. I said, I'm not getting on
it unless I see it. Well, ifthey could have fired me, they
probably would have because thattook time. That was twenty
(35:49):
minutes to get up on the otherside of the mountain to where it
was rigged.
Anyway, they finally agreedbecause I wasn't gonna get on
the rig. And I called you know,they called this guy down, and
he went with me. Pulled up tothe top of the mountain, and
there is an I hook in theground, huge I hook with the
(36:13):
rappelling line attached and themotorcycle attached with the
trip on the motorcycle so it'llfall. There's no backup ties on
anything. So we had enoughrappelling line that we were
able to wrap it around a treethat was close enough.
The water truck that was upthere would not let us hook up
(36:35):
to him, And we back up tied therappelling line. That's all we
could do. And, went back down.They took the cherry picker, got
me up a hundred feet in the airon the sidecar of the bikes.
Knives are no rigging on me atall.
I'm just holding on to the bike.Stunt double gets on the
rappelling line. They roll thecameras. He swings over, grabs
(36:58):
me, and we're supposed to swingback like this. Right?
We swing back like that. And thebike drops and explodes. And
it's interesting how time slowsdown when you're doing a stunt.
And I remember, and never forgetas long as I live, literally,
(37:19):
how all I could think was, oh mygod, the rappelling line got
stuck in the tweeves and youknow, you forgot that it was
retied. And you're holding ontothis, you're trying to hold onto
the mountain and think, well,you'll just, you know, climb
down 100 feet of mountain andthere's shale that's coming off
with your hands.
And this literally probably tookseconds and it felt like
(37:40):
minutes. Yelled down to thecrew, get get us down And I
remember looking at the crew,looking down, and they're
standing there with their mouthopen looking up. And Gary does
some double yells, and theymoved. Everybody started moving.
I mean, like I said, it tookseconds.
It felt like minutes. Got usdown. Mhmm. I hope he came out
(38:04):
of the ground. Now if we had nottied that backup, we would not
be doing this interview today.
Right. So that's that's whatmakes things dangerous. That's
literally what makes Right.
Cathy Worthington (38:19):
Right. And also, all during that time, you
were a single mom. So was itdifficult to be in a business
that
Sandy Gimpel (38:26):
You know, never thought of that.
Cathy Worthington (38:27):
And inspired you to work?
Sandy Gimpel (38:28):
I was never really that afraid of things.
Cathy Worthington (38:30):
You didn't? Those those long hours you were
away from
Sandy Gimpel (38:34):
her and back where you were working. Know? Scary
Sister took care of her a lot. Ihad a girlfriend that was her
husband was an assistantdirector, so he worked he did
halt the hulk and things likethat. So she and they lived very
close, so she would be took careof her a lot too.
(38:55):
Even you know, I I was veryblessed blessed as people, you
know, close friends and family,you know, taking care of her.
There's not much you can doabout the hours. They're long
and they're night, a lot of themare night shoots. Night shoots
actually better because then shewould, you know, be sleeping,
but somebody had to pick her upfrom school and, you know,
(39:15):
things like that. But it didn'tmatter really what you did in
our business because when I didCorgiavetti's father, our script
supervisor, her son was youngand she would have to go pick
him up from school every daybecause she didn't have anybody.
(39:36):
So I would hold script for herwhile she was gone for the hour
to go get her son to bring himback. So we all kinda go
through, you know, differentphases of problems and you just
figure out how to work them out.Yeah.
Cathy Worthington (39:49):
You had such a strong community around you,
it sounds like, and you've livedsuch a rich and exciting life.
And what would you like ouraudience to have as a takeaway
today? Do you have any specialadvice?
Sandy Gimpel (40:03):
I gotta tell you. Dave, everybody says, what are
you gonna do when you grow up?Well, first of all, I'm never
gonna grow up. I don't wannagrow up. But if you don't stop,
you know, I've just seen toomany people retire and then sit
on the couch and do don't doanything and they get old within
(40:24):
a year.
It's just unbelievable to mewhat happens to them. I mean, if
I'm not working, which you know,there's times in our business
it's rough and you don't workall the time. I go to the gym
four or five days a week andmake sure I'm working out all
the time because I've got tokeep my body in good condition.
(40:44):
And, you know, you drag yourselfto the gym, but once you're
there, you feel pretty darngood. You know.
And it keeps you vital, youknow. It just if you don't stop,
even if you have if you can't goto the gym and you go out and
walk, you know, walk and walkand walk and keep your body
(41:05):
moving, it's gonna keep youyounger. And and I eat as
healthy as I can. We all screwaround and splurge, of course.
Yeah.
But as a general rule, I mean, Ieat pretty healthy vegetables
and, you know, fish and chickenand salads and stuff like that.
(41:25):
But I don't eat fast food. Idon't drink Cokes and Diet Cokes
or any of that stuff. I Ihaven't had any of that in
years. It's just, you know
Merry Elkins (41:39):
Keep moving.
Sandy Gimpel (41:40):
Keep moving.
Cathy Worthington (41:41):
Keep moving is the best Yeah.
Merry Elkins (41:44):
It's great. Keep on keeping on. I love it, Dan.
Yeah. Thank you so much.
You've got some really greatadvice for all of us out there
at every age, really, not justpeople who are older. Our guest
today on Late Boomers has beenSandy Gimpel, stunt lady for the
stars, author, producer, stuntcoordinator, and director. You
(42:09):
can learn more about Sandythrough her website,
sandragimpel.com. And that's s an d r a g I m p e l dot com. And
you can meet her at her StarTrek tours throughout The United
States.
There's so much more that Icould ask you that I'm sure our
audience would love to know. Sohopefully you'll come back and
(42:31):
do another podcast with us.
Sandy Gimpel (42:33):
Thank you. Thank you so much.
Cathy Worthington (42:34):
And tune in turning next week when we'll be
meeting another exciting guest,Rhonda Britton, who will share
some great tips. Pleasesubscribe to our late bloomers
podcast on YouTube and take usalong in the car and on walks on
your favorite audio platform.Let us know what gets you
inspired. We're on Instagram atI am Kathy Worthington and at I
(42:58):
am Mary Elkins and at lateboomers. Please tell your
friends all about us.
Thanks again,
Sandy Gimpel (43:05):
so much. I appreciate you having me.
Merry Elkins (43:09):
Great.
Cathy Worthington (43:10):
It was a pleasure.
Thank you for joining us on late boomers, the
podcast that is your guide tocreating a third act with style,
power, and impact. Please visitour website and get in touch
(43:31):
with us at late boomers dot biz.If you would to listen to or
download other episodes of lateboomers, go to
ewnpodcastnetwork.com.
Merry Elkins (43:43):
This podcast is also available on Spotify, Apple
Podcast, and most other majorpodcast sites. We hope you make
use of the wisdom you've gainedhere and that you enjoy a
successful third act with yourown style, power, and impact.
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