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So I think collectively I would love

0:51

to give it up for Raging Bully.

0:57

UM and the Crest

0:59

Theater, thanks for hosting us,

1:02

sincerely. What a beautiful movie theater In

1:04

this day and age of

1:08

you know, watching movies on Apple TV and

1:10

computers and phones, so what a what A

1:12

what a beautiful movie? Theori feels very

1:14

traditional and and uh uh

1:19

you know, especially for a movie like this, which

1:21

I didn't tell the people who had never seen the movie before

1:23

that it was in black and white, but

1:26

as you can tell, it was in black and white. So um,

1:29

I can't wait to see uh, you know what something some of

1:31

you guys u uh have

1:33

to say about the movie. Um,

1:36

I know that Gimo Nettie if

1:39

you haven't, so, I know there's more people here.

1:42

Uh, We're gonna give the impression to the

1:44

podcasting audience across the globe that

1:46

there's like, I don't know, seven

1:49

hundred and sixty five people in here,

1:52

but there's really only three four.

1:56

But we're gonna make it sound like it's seven sixties.

2:00

So we're gonna be extra loud and ship. So like the

2:02

podcasting community out there is like funk Man that

2:04

sounds like a cool night at the christ with

2:07

Rappaport and raging Bull. Yeah,

2:09

Ship should

2:12

have been here, so um

2:14

so, so thank you, thank you, thank

2:17

you, thank you. Guys, calm down kind of security.

2:21

The fucking wrapper pack is uh is

2:23

in the building. So when was the last time

2:25

you saw that movie two

2:27

years ago? And what's your

2:29

impression? Because with me and me and Gerald

2:32

and the interesting thing was watching with the

2:34

audiences that the dilapidation

2:39

I said, dilapidation of

2:41

laughter throughout the movie because like I said,

2:43

you know, if you've seen the movie, or maybe if

2:45

you haven't seen the movie, the tension is so palpable

2:49

that it makes it humorous. Uh,

2:52

you know, de Niro's tension is so until until

2:54

he you know, he starts, you know with the

2:57

physical ship. But when it's just the accusatory

2:59

thing, it's like funny, and then it's

3:02

over the line and then it's you know, grilla

3:04

show. Um, I want

3:06

to ask you, yes, why

3:08

this movie? What does this

3:11

movie do for you? It's

3:13

a good question. See that's why Gi Monettie

3:15

one two thousand

3:18

and fifteen podcast co host of

3:20

the Year. I mean, that's why

3:25

you're the fucking black at McMahon and I'm actually,

3:27

I don't know if you know this, I'm the white Arsenio Hall Miles.

3:32

Make sure when we're when we're mixing this that those

3:34

laughs sound big for the motherfucker's

3:36

and feel like

3:38

it's like old like can laugh like from

3:40

like the sitcoms of the seventies, like just fake

3:43

that ship, like welcome back Carter style, lass

3:46

vibrant, canny tinny laughs.

3:49

Um. For me, you

3:51

know, uh, this film

3:54

you know when when I watch it, and I've

3:56

watched it so many times for me to

3:59

answer your question, it

4:01

is perfection. And it's artists who

4:04

are working on all cylinders and

4:06

it's craft, with

4:09

determination, with charisma,

4:13

um all

4:15

coming together. And when I say charisma,

4:18

it's like you know you you you know you. It's

4:21

there's a charisma to even

4:23

like Jake Lamonto, like there's a charisma to you

4:26

know, when he's approaching Vicky

4:29

in the beginning of the movie, before he goes dark,

4:31

dark dark, He's charismatic. There's a charisma

4:33

to the to the style of the film.

4:35

There's a charisma. And there's a taste

4:38

like you know you you you see Martin Scorsese's

4:40

taste, the taste in music,

4:43

the taste in cinematography, the

4:45

taste in clothing, like everything is like

4:47

the car everything, like that's all Martin

4:49

Scorsese's imagination and Robert De Niro's

4:52

imagination. And I just think it's for

4:54

me. It's like whoever your favorite

4:57

your favorite artist or athlete

4:59

or singer is. It's like those

5:01

guys. It's like Jordan's in slow

5:04

motion in his y on his very best

5:06

day, like this, this is what this movie is to me.

5:08

So so that that's saying what

5:12

did what did I did? I did I a word up again,

5:14

Paul? What what word did I? Say wrong Jordan

5:18

on his best day. And then you and because it's a movie,

5:21

you could watch it again and you're like, look

5:23

at this ship. I mean, because the camera work, the sound,

5:26

everything about the movie's perfection. So it's

5:28

like I said before before the film started,

5:31

I I forewarned the people

5:33

like this isn't Cinderella. It's

5:35

not an easy movie to absorb. It's it's it's

5:37

it's not even as easy as

5:39

as Good Fellas to absorb. And Good

5:41

Fellas is not an easy movie to absorb. But

5:44

this makes Good Fellas feel like Pg. Thirteen,

5:47

like this is fucking dark and

5:49

you're seeing a guy's like just the pain and

5:51

the desperation, and you know, just

5:53

the at the bottom, and then there's

5:55

a tiny bit of um,

5:58

you know, redemption at the end, tiny, tiny

6:00

tiny, and you know, and I just like, you

6:02

know, the the the the influence of this movie

6:05

is all over Boogie Nights. It's all over

6:07

David oh Russell's work. It's all over you

6:09

know, Mobid of Blues and Jungle Fever

6:11

and Spike LEAs work. I mean, the framing

6:14

of the last scene when de Niro is in

6:17

the Mira as Fat Fat

6:19

Jack Clamata doing Marlon Brando

6:22

is the exact same framing that

6:24

was it the last scene in The Boogie Nights when

6:26

when uh Mark Walbert

6:29

took out his loaf. All

6:33

thaves do matter. You

6:36

guys know that Iron Rapport podcast. All thaves

6:38

really do matter, All overs

6:40

matter? Um. So

6:42

that's why I chose Raging Bull

6:45

Um. I wanted to bring up

6:47

a good friend of mine who's actually just got to

6:49

work with Martin Scorse says. I've never gotten to work with

6:51

Martin Scorsese, and since

6:53

I tried so hard to get him to do this podcast,

6:56

I think like I went into like Rupert

6:58

Pupkin filled him, Like, Yo, this guy's fucking

7:01

crazy. How

7:03

many times did Michael Rapport call today

7:06

to do what? I imagine the conversation Martin

7:08

Scorsese his assistant son, there's a podcast,

7:11

Like Martin Scorsese has no idea what a fucking podcast

7:13

is, and I'm like, it's the

7:15

I m Rapp Report podcast. You gotta talk to

7:18

me, Martin Scorsese, the

7:21

ladies. The lady calls me back his

7:24

assistant or like probably assistant to the

7:26

assistant. I'm not I might get the third tier

7:29

of anybody like, who's in who's dealing with Martin

7:31

Scorsese? And I'm like, listen, it's the

7:33

thirty fifth anniversary of Raging

7:35

Bull. And the assistant goes, even Marty

7:37

didn't know that. It's

7:39

like, motherfucker. Well, okay, Well,

7:41

I just want him for five minutes because I wanted to

7:44

use reverse psychology on him, because I

7:46

know if I said five minutes to Martin Scorsese,

7:48

that's like forty nine minutes because

7:50

you know he won't stop talking. But

7:52

um, I'm not smartin Scorsese humor, Am I right? Paul

7:55

Key's he's a talker, right, Paul?

7:58

Yeah? Alright. So my

8:01

friend Um, who

8:03

I worked with on True Romance? Like, do we meet on

8:05

True Romance? Paul?

8:08

We did? I

8:10

love it when my actor friends get shy. Um.

8:13

So so my friend Paul and Victor who's coming

8:15

out in the show Vinyl, who

8:18

I didn't tell you that you were gonna come to the

8:20

screen and then come on stage because I could tell like, you're

8:22

like, what the funk are you doing? Like I thought you had

8:25

special guests? Motherfucker you.

8:28

Yeah, And so Paul Mctor come up here. I want

8:30

to pick your brain about morn scor Sey Elien.

8:38

All right, so here Paul, so

8:41

Paul and Victor. So you're like, you're like when

8:44

I was over there, like Paul and Victor like, who the fund is

8:46

that? And now you see him he's like one of those guys, like that

8:48

fucking guy, right,

8:51

he's like a that fucking guy actor. Which is nothing

8:53

wrong with being that fucking guy actor, right,

8:57

good, ain't

8:59

nothing wrong with it? Have you

9:01

been in Paul Victor? Literally

9:04

seriously, I don't know, no, because I get

9:06

asked that question. You've been in a lot of movies.

9:08

We met in true Romance. We

9:11

met a true romance. But you

9:13

do want to know our history a resume?

9:15

Yes, you go, no, you go, well,

9:19

true Romance. Then I did you a little short called

9:21

bald Spot trouble Spot. I was

9:24

produced that it's guys. It

9:27

was the first one they called Paul don't feel bad

9:29

but not gonna be in the stand topic.

9:33

And then we did Metro Fuck

9:36

that's right. And in Metro Murphy

9:39

Murphy and Thomas Carter. Thomas

9:42

Carter is a director who started as an

9:44

actor on the show

9:46

The White Shadow, Heywood

9:50

and and and and then while we were

9:52

making the movie, when I was frustrated with Heywood.

9:54

I was always like, can Coolidge come and direct?

9:58

Only the people that know the White Shadow appreciate

10:00

that joke. But thank you, thank you. We'll

10:03

amp up that. You're a great metro. By

10:05

the way, was Eddie Murphy you were good?

10:07

Well, what was your impression of working with Eddie

10:09

Murphy before we get to score easy? Well, I got

10:11

a whole night

10:14

that we did. When he had, when I had, when he

10:16

came after him with a knife. Paul, that's a

10:18

real knighte Paul Donna, a real knife, Bodie,

10:21

Eddie, it's not a real knife. It's not a real knife. It was

10:23

it was, it was, it was. This was before the

10:25

clumps came out. This was that mid range time,

10:27

Freddie. But at all the

10:29

people I've ever worked with, the

10:32

most talented person by

10:35

far, just on like talent. Just

10:37

speaking to him, listen to him, to him talk, He's

10:40

we would do lines from Raging Bull. He knew

10:42

he would do the whole Imagine watching Eddie Murphy

10:44

do Pasci de Niro and

10:47

VICKI like he would do the whole fucking day.

10:50

Speaking to which Vicky was Moriarty,

10:54

she was That was tonight I saw

10:57

her in a different light because I was just watching. I mean,

10:59

talk about subtle and as an actor,

11:01

you know, we want to do very little, you try to do little.

11:03

She was like beyond Brando.

11:06

She was just so subtle and so beautiful,

11:08

quiet and intense and beautiful

11:10

and young. What's the first

11:12

thing? He played? The first thing? Yes, she had never done

11:14

anything, and she was like Kardashi

11:17

in a raging bull, put

11:22

bump cool right off the topics,

11:25

just whenever things

11:27

go wrong, just fucking get them. And

11:30

then doing Metro. I said to you, I'm going

11:32

to do a play in New York and then you want

11:34

to do it? Right? You said you

11:37

are you fucking doing it? I said, I'm doing it. Then

11:39

I want to do it. I

11:42

said, all right, some where's

11:44

the script. I'll send you the script.

11:46

Send me the fucking script. Maybe I'll do it.

11:49

You know, I was that combative.

11:51

Even when I wasn't being being a little intense,

11:54

she were much more loving. Bank didn't do those

11:56

words. But we did the play. Then we went

11:58

to New York. We did a play by Lyle Slow

12:01

called Robbers, who wrote a play called Orphans

12:03

that was on Broadway last year with Alec Baldwin. That

12:06

was the whole Shila buff Alec Ballwind Beef

12:08

play. If anybody it's like, I heard of that, but I didn't

12:10

go to the fucking play. Um,

12:13

I'm doing his next, his play, a new

12:15

play. They got a partner for me at the studio.

12:19

We made so much magic we got canceled there for

12:21

a week. Was

12:24

it a week? Two weeks? We

12:27

did a play where I had to I was naked

12:31

every out of getting out of the bed and my

12:33

every my goal every night. And then I put my underwear

12:35

on, and and and and I was My biggest

12:37

fear was to like, you know, when you put your underwear on

12:40

and you trip? Should we showed your ass, right, I

12:42

showed my ask, but I was like, I just didn't want to trip

12:44

naked like it could be, you

12:46

know that, like your stomach. It's bad enough to do that

12:48

in real life when you put on your new in a

12:51

theater with way more people

12:53

than this, it's

12:56

horrible because it screws up the momentum

12:58

of the plate like people would be like, oh

13:00

ship. And we had a night where we cracked up

13:02

laughing on stage. You made me laugh.

13:05

I remember that because

13:07

there was it's almost like tonight there was a woman

13:09

in the front row who was sleeping. That's what it was.

13:12

We were doing a mattenee. Imagine you come

13:14

out of a mattnee. I've never done a play.

13:16

I think. I'm like, I think it's like, you know, like

13:18

like the prince of the city has come back to

13:20

New York to do the play,

13:22

and we go out do the fucking lines

13:25

right in the front row and it's a mattenee, And I'm like,

13:28

I just couldn't imagine. There was

13:30

an old lady sleeping sleep

13:33

and the play just started like I didn't even get a

13:35

chance to bore her. So I had my first entrance

13:38

and I come on from out stage and

13:40

I'm playing as Puerto Rican Gotta go. When

13:46

Paulmann Victor was playing the Puerto Rican guy.

13:49

That's where we were fucked. I'm Vince.

13:51

Then we know the lines. I don't remember my lines.

13:53

Remember lines? Ready, I'm

13:56

Vince. People call me Vinnie. It's Italian

13:58

name, but I'm Puerto Rican. This is how it is. See,

14:01

I don't remember I remember the well. What

14:03

happened was I get on stage and he's

14:05

hiding half behind like a pillow, and

14:08

literally three something people in the theater

14:11

and he's like, and the lady who I looked

14:13

like, my fucking grandma's asleep in the front

14:15

room. And he starts laughing. But

14:18

you're holding it in. It's that second grade in

14:20

front of the teacher laughing. And I lost it.

14:22

You were like, you

14:25

know, I understood, you're all holding it in. And

14:27

I saw you laughing. I just went this

14:34

one. You just left. I left. In the middle

14:36

of the scene, I left. I never saw that

14:38

before. Towards the end of the scene, I left, and

14:40

then there was a scene changing it all fu up.

14:42

I haven't been invited to back to do a place since

14:45

that that night. You're very good, alright,

14:47

So Vinyl, you're doing Vinyl

14:49

in Mars corsese hbo um

14:53

oh. And then we did Shoot Up Been Romeo, which

14:55

one movie, right didn't come

14:58

out. But what other things. I'm

15:00

just saying, there was a lot, a

15:02

lot of meals, a lot of dinners, all

15:05

right, So tell me, so I asked you this when

15:07

you were working with marketIn Scorsesey after

15:09

after being a fan for that many years, what

15:12

articulate that what that experience is like,

15:15

what was what was the good like? How I'm

15:18

a big fan, but you when I told him I was

15:20

working, he goes, all right, man, you gotta

15:22

have a question, and like a follow up question,

15:24

and and I want to know what he will. I want

15:26

to know his belt size. I want to know, like

15:28

what he smells like you he

15:30

went fucking nuts. I know his

15:33

shoelaces. I don't want to put this in the podcast.

15:35

I'm already on third tier. No,

15:38

No, I'm just fun with you. No, I wanted to

15:40

know everything. I wanted to know because you know, the

15:42

thing about Mortin Scorsese, like he's

15:45

one of the country's great artists.

15:47

So imagine Pablo Picasso was

15:49

still around making paintings and you were

15:51

there holding the fucking purple

15:53

blue and yellow that day when

15:56

that's when he's lighting. He's gonna

15:58

do an analogy, literally, like if Van

16:00

Gold or Jimmy Hendrix was making

16:02

another record. You mean you

16:05

know he's a backup singer. No, you're

16:07

in the ship, You're in the painting everything.

16:10

That's like what he's doing. He's like Sistine

16:12

chapeling that ship. You

16:15

know, because what did you see it in this movie?

16:17

You say, like a painter, you watched these

16:19

frames and the timing and the it's

16:22

like a magic act. I was

16:24

thinking about what you were saying about it when you're watching

16:26

this film, right, it's so magnificent that

16:28

the people standing there and waiting

16:31

and like you said, the tension of the and

16:34

you don't it's just so beyond

16:36

real, you know, like and let me ask you

16:38

it know, is some of the stuff improvisation was

16:40

at all from from what I don't

16:43

think a lot of it was improv on the

16:45

set from what I know, and

16:48

rehearsal and stuff like that. I know, like the one

16:50

scene like if you win, you win, if you lose a

16:52

particularly um tedious

16:55

that was kind of figured out on the day. But I think a

16:57

lot of it was, you know, they had been working on this movie for

16:59

two or three years, you

17:02

know, and then and this is when they're like, you know, the

17:04

fact that they were able to start, you know, the crazy

17:06

things like when you see DeNiro in jail,

17:09

the fat DeNiro, the

17:11

fat Jake LaMotta in jail, and you're like, holy

17:13

shit, he this is not a fat suit, Like this

17:15

is a fucking this is

17:17

Jake Lamatta sixty pounds overweight.

17:20

Like the fact that they were able to do a movie. At

17:22

that time, he gets in

17:24

shape to box. They shut down

17:26

production for six months so

17:30

he could gain wait and

17:32

then come back and finish the movie. That's

17:35

like an art project. You could never do that

17:37

now, you could never. They probably

17:39

couldn't do that. Only they could do that, because

17:41

like, look what the outcome of this was. But like I

17:43

mean, there's just so much, so much um

17:46

texture and layers to everything. And the sound.

17:50

Forget the music, the score, which is beautiful,

17:52

and forget the source music like the Benny Goodman

17:54

O. The sound they used for the punches,

17:56

and the sound they used for the violence within

17:58

the house and the trembling in it's just

18:00

a fucking masterpiece. It really

18:03

is a masterpiece. Said, why there's

18:05

only three hundred seventy five people

18:07

at the thirty fifth anniversary screening in West Week

18:09

is beyond me. I throw six sixties.

18:12

I count a lot more. It's more, he looks more.

18:14

But it's really only like three hundred ninety

18:16

six people in

18:18

the bad Yeah, well we're that's definitely standing,

18:21

and you know, and the fireman came to shut it down, but

18:23

they're in thrall, so they're letting us keep it going because

18:26

they're just my

18:28

my, my father. If he knew that I said,

18:30

dilapidated and enthralled in one evening

18:32

in front of he would fucking probably drop dead.

18:35

He's like, what the funk the

18:37

fact that? Anyway? So give me the Scorsese

18:40

ship. How did you feel? What was that? Like? What's

18:42

what? We're not promoting vinyl

18:44

but that he's the HBO show that

18:46

he directed, he's producing with

18:49

Mick Jagger, um and

18:51

and and so what was your what was your impression

18:53

of your days with Martin Scorsese. Well,

18:56

you're in the King's palace, you know, and

18:59

he's like this, there's like forty

19:01

thousand little uh

19:04

interns. You know, like literally there's

19:06

like twenty every step you take,

19:08

Mighty Mundy's money is coming down the street. Money's

19:10

coming to the street. Money, money is getting out of the car. He's got

19:12

to get the car. Money's not coming in. Somebody's this money got

19:14

a little He's gotta car. Will be fifteen minutes, like minutes

19:17

later. But every two seconds you're hearing like

19:19

nine people saying whispering on these little

19:21

things. Money's He's not feeling

19:24

very good today. He's gonna be in about fifteen minutes late. It's

19:26

got thirty thirty three minutes late now, I

19:28

mean every inch and then so

19:31

we're just everybody wants to please him, you

19:33

know. But then he gets there. I mean

19:35

the first I got really nervous because, you

19:37

know, I got out of the cabin. He said, Paul's getting out of the

19:40

cab because he's walking into the front store. You know, everybody's

19:42

there's nine thousand little kids because they all want

19:44

to work on the show. You know, he's getting into the elevator,

19:47

going up the elevator coming. I was somebody, a new person

19:49

out of the high right this way. You know. There

19:51

was five p a s before I got to just

19:53

for you, just getting out of the air in

19:56

a beautiful hotel and it's cater just

19:58

is for rehearsal. I get into

20:00

the rehearsal space and

20:02

behind the door, I'm hearing this go

20:05

falling laughter, like I'm in this little waiting room

20:07

and they're like a little breakfast, you know, hall,

20:11

and he's laughing his fucking ass

20:13

off. I said, oh, is it making him laugh like

20:15

that? But he just laughs. He

20:17

loves he loves being on the set. He works

20:19

through the night. He does tons of takes. I

20:21

I really think happiest on

20:24

set. I don't think he likes you feel his exuberant

20:27

so you feel his past. Yeah, he doesn't. He just

20:29

loves being there and how many, how many

20:31

years he's been doing. He just

20:33

gives little tiny perfection

20:36

notes. You know. He gave me a note when he said, Paul

20:39

trying to get in, take a little

20:41

pause right before that line. And I did, and something

20:43

happened, but I wasn't getting it. I wasn't

20:45

getting it. He gave me, like, did like five six days,

20:48

did you start to feel a little like warm? Oh?

20:51

Shit, Like I like, I'm getting fired.

20:53

I'm gonna get replaced him, you know. But

20:56

I finally did something he liked because he was

20:58

in the back and her I'm laughing loud.

21:00

So how's everybody feeling? I

21:04

like that? I like that. I

21:06

like that. You know, all the people that support

21:09

the podcast, uh,

21:11

our guy Mike Morris, the ship that we

21:13

we we act like this as part of

21:15

like. But I mean, I guess everybody's

21:17

living in that makes some of the

21:19

great art and the stuff with the podcast.

21:22

Um, some of those people are here, and

21:25

you know, we truly appreciate I love

21:27

doing the Iron Rapp Report Podcast.

21:29

It's is so much fun,

21:33

wonderful TV director David Rigus is

21:35

here tonight. Absolutely, my sisters

21:37

here, Claudia, Claudia's here, Claudia.

21:43

What's going on? I got my man Toby, Toby

21:45

Morse in the house and

21:48

who who just saw Raging Mood for the first

21:50

time tonight? Like, I would love

21:52

to hear somebody, if anybody have a question or

21:54

a thought or an idea or a concept or

21:56

how you know, because for me, we're watching that

21:58

movie. Uh. I

22:01

forgot to say, Dean, my man Dean Collins

22:08

who played my son and

22:10

looks like my son, but it is not my

22:12

son. That's

22:15

my fucking guy right there. Huh.

22:21

Now, I know everyone see it, but I mean, what's

22:24

you want to start some ship? Dean? See?

22:26

People know? They know? Um?

22:30

Um, so does anybody have any like the people that never

22:33

saw the film before? Ask

22:35

the question? Paul will answer your your your question

22:38

by all means. How many people listen

22:41

to a podcast? Um,

22:44

the most that I've ever listened to it. We I

22:46

think it's like a hundred something thousand a week, man,

22:51

Like a hundred fifty is the most. I

22:54

mean, you know, the podcast World. This

22:56

is what I've learned about the podcast world. And last

22:58

year, a guy like Bill Simmons,

23:01

or a guy like um

23:03

Adam Carolla or a guy like Mark

23:06

Maron the biggest of the biggest, four

23:09

million fucking people. We'll

23:12

listen to those guys, and it's deserving. So

23:14

it's just like, who would have ever thought

23:17

that podcasting would be a forum

23:20

like a radio station, Like a radio station, four

23:22

million people, that's a lot of people radio

23:25

stations that get to in

23:28

this day and age. So I mean, you know,

23:30

the podcast started,

23:32

uh you know, me

23:35

me myself, and I

23:37

was enjoying talking into a microphone alone.

23:39

But it's kind of claustrophobic. It's

23:41

just like, you

23:44

know, you buy yourself literally

23:47

in a room like with my dog, you know, and

23:49

the dogs like, you know, tripping out because I'm like, you

23:52

know, and he's like, you know, like looking, and then I

23:54

was like, yo, Gerald, you gotta come on the podcast because

23:57

we've been talking ship and

23:59

I find World to be one

24:01

of the top three people in terms

24:03

of funniness that I know that

24:06

will consistently have me under

24:08

a table. Thank

24:11

you much, no problem.

24:13

But I mean you're killing tonight. So everybody

24:15

could totally understand why I thought that you're

24:18

fucking tearing it up. Man, You're just

24:20

helping me and holding it down. And my voice doesn't

24:22

hurt. It's fine. I'll talk for an hour and a half. It's fucking

24:25

cool. G No, it's fun. Um

24:28

but uh, I was like, yo, gee, come

24:30

on the pockets, we'll talk about whatever. And

24:33

this fucking guy was like a pig and ship, you

24:35

know, just like, yes, tonight just destroyed

24:38

no. Um.

24:41

But but he's had many many, many

24:43

strokes of of of of true brilliance

24:46

during the podcast, and I'm always just like my

24:48

man, won't indy.

24:51

And then the fans annointed him the blackhead

24:54

McMahon, and then of course they annointed me the

24:57

gringo man Dingo. I mean, it's just been on and on,

24:59

and now, most recently towards the end of two thousand

25:01

and fifteen, of we've actually

25:04

been for going to two thousand and sixteen, they're

25:06

calling us the interracial Abben and Costello.

25:08

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25:53

Do you know that that's the first big

25:55

film that Joe Pesci was in? Did

25:58

did you? Did? Some people not know? Not going

26:00

in tonight? How crazy is

26:02

that that? That has his first performance?

26:04

It was a small sort of independent,

26:07

barely seen movie that he was in before that.

26:09

And then you're starring opposite

26:12

Robert de Niro and

26:15

marn Scorsese. Academy

26:17

Award nomination, Academy Out of the like

26:19

out of the box he was. He was nominated

26:21

for that role. Yeah, of course. Um

26:25

see Iron Rapports Stereo podcast coming live

26:28

in I want to take a question. Toby

26:30

Morris, come up to the mic, or speak this to

26:32

just other people at home, because again,

26:35

those who are missing out on this night, it's

26:38

a fucking packed house. So Toby Morris, lead singer

26:40

of H two, good

26:43

friend of the Iron Rapport podcast more

26:45

than That, one of the

26:48

most genuinely

26:52

good and positive

26:54

people that you'll ever meet. So

26:56

Toby Moore, that's for real, Like

26:58

I mean, is that? Well,

27:01

my question is not about this movie. You know what the question

27:03

is gonna be about. Oh yeah, all

27:05

right, let me just prefaces. Toby

27:09

is the absolute biggest True Romance

27:11

fan and his wife.

27:13

Toby and his wife are the absolute biggest tru Romance

27:15

fan. And sometimes they think like

27:18

they're fucking Clarence in Alabama and I'm

27:21

actually Dick Ritchie. It gets

27:23

so fucking weird. I'm like, yo, my man, I'm

27:26

not crazy. You're not fucking

27:28

Clarence. But

27:30

he's he's he's You're. If you were doing

27:32

a screening get the Crest Theater, you would definitely True

27:34

Romance. All Like, that's his movie? All right,

27:37

So asked Paul the question, both

27:39

of you guys. Okay, So True

27:41

Romance was James Garofini's first

27:43

movie ever. Correct, Yes,

27:47

I believe, or he might have had a tiny

27:49

part in something else, but I mean it was it

27:51

was his first part, but it might have been

27:53

his first part ever. There was a film. I

27:55

might be speaking on a term, but it was either a

27:58

film that he did right after True Romance or

28:00

before Truman's, but it was certainly his first substantial

28:03

part um in a in a big movie.

28:06

Do you guys have any memories of working with him

28:09

on that movie? Did you work

28:11

with him, come across him? Yeah,

28:14

because I was. You know, when I'm

28:16

in that one big scene with walking

28:19

and Hopper right and he

28:21

cuts. You know, you're in one of the most iconic

28:23

fucking scenes. I'm

28:28

Luca, I'm Luca. I'm I'm

28:30

the behind the couch. So

28:34

I forget that ship that you're in

28:36

that scene. I was in it,

28:40

and Gandelfini was in Itfi.

28:43

You know, I'll tell you what my

28:45

memory of him was, is that number one he

28:48

and I say this, I mean in the most loving

28:50

and daring way. He had a goon like quality.

28:53

He was big, big shoulders and

28:55

at the time, you know, thin, big

28:57

shoulders, big hands and very

29:00

quiet, very quiet.

29:02

So when you you know, like that set,

29:05

it was such a h. I

29:08

mean being on that set. I know that I would show

29:10

up when it wasn't. I was there

29:12

the day when you did this stuff in the trailer because

29:14

I wanted because everybody knew the scene

29:17

in the trailer was gonna be the fucking scene. So

29:19

I showed up to the set that day and you were on. You were

29:21

on a set in the trailer. It wasn't a

29:23

real set, it wasn't

29:25

shot on location. It was a set. And

29:28

I just remember talking to gain Lefeenie. I

29:30

got to know him a little bit more in

29:33

a film we did after. I like talking to him about

29:35

that experience. Quiet, low

29:38

key and and and always was so worried

29:40

about what he did. And the last time I

29:42

saw Candell Foenie, he

29:44

told me he never saw a true romance. That

29:49

bugged me out. He's like, I don't see a lot of my ship,

29:51

and I was like, damn, And I heard, uh,

29:54

Like I sort of got to that point where

29:56

I don't see my ship, but that's just because of the quality

29:58

of my ship. I'm kidding. I'm fucking it's

30:02

too easy. I mean, fucking.

30:06

The improv is down the street, the comedy starts

30:08

up. I should just go there, boom boom

30:10

boom, just get him kill. It's

30:13

just not even. It's too easy. That's

30:15

why I retired from comedy in the first place. It

30:17

is too fucking easy. I'm just kidding.

30:19

I'm kidding, even fucking kidding, filling

30:21

the laugh. Miles mom talking to Miles my

30:23

sound guy. He's Asian. His name is Miles

30:25

Davis. Give it up, Miles Davis,

30:27

the only Asian sound guy in California.

30:30

It's unbelievable. One

30:32

week he Miles,

30:34

like Chinese,

30:37

but you're a half something, half something, and

30:42

what's the other half? Right,

30:49

Okay, all right, it

30:51

doesn't sound as good Miles Davis, my white

30:53

sound guy. It's just I get

30:55

a laugh because sometimes I say, Miles Davis, my

30:57

my, my Chinese sound guy, and then like

31:00

I'm not Chinese and calf Japanese

31:02

and like, what the last time you told

31:04

me you were a fucking Persian? I don't know, you're half

31:06

all right, that's on the record now, all right.

31:08

So that was my thing with Gamdelafini. He was

31:11

always quite like he was neurotic, but

31:14

quietly neurotic, and like a goon, like

31:16

a big but a sweetheart, sweetheart.

31:18

So I had those couple of days with him, you know, working

31:20

with him on on True Moments, watching

31:22

him. I was there the day he beat up Patri

31:25

Charquette character and

31:28

that was an intense day. Um.

31:30

And what do you remember, I mean just specifically

31:33

about Gamdelafonia and what do you remember about

31:35

being in one of the most iconic scenes in

31:38

film of the last thirty

31:41

years? And I could you could really say that, like,

31:43

yo, that's a scene like you say that Christopher

31:45

walking Dennis Hopper scene. People know what the fun you're talking

31:47

about? Scene I get. I get little notices

31:49

all the time, Hey, would you uh

31:52

sign off because they want to use it for some

31:55

uh you know, lecture at some school.

31:57

You know, it's being used for theater class

32:00

is and stuff, so you know, or

32:02

get a residual for it from four because

32:04

it was used in some college somewhere or some

32:06

symposium. I never got asked about

32:08

and them Dick Ritchie ship. Ever,

32:12

there's money in that ship? You think it all? Yeah,

32:15

you know you're talking about side money. Maybe

32:17

maybe I had a little little Russian thing under

32:20

the table. But because I

32:22

played Luca, the Italian cousin

32:24

who doesn't speak English, so I was I

32:26

kind of just not consciously,

32:29

but I was walking around not really

32:31

listening, not understanding anybody because I

32:33

didn't speak. So I was walking on people were

32:36

talking stuff, and I was like kind

32:38

of have not deaf, but I'm making

32:40

like I'm in a foreign country. I don't understand what anybody's

32:43

saying. Since since the number one true Romance

32:45

fan is asking you this question, do you regret

32:47

that approach to that that time in your life

32:49

and your career that's sort of methodical acting?

32:52

And did you? Because

32:54

I mean I would have been soaking that up and

32:56

fucking I would have been doing the talking about like a little

32:58

side. I'd have been doing the lecture circuit and hording

33:00

my out, myself out doing podcasts and

33:03

stuff like that. You should do that. No, I'm just playing.

33:05

Oh no, what do you remember

33:08

about the walking the walking um

33:10

hopper, you know, like the banter

33:13

back forth, Like yeah, I'm telling you,

33:15

I was sitting there going, you know,

33:17

I don't know what's going on, you know, I just

33:19

because I'm not understanding, right, So

33:21

I was just standing there going, you

33:23

know, like I'm just waiting for

33:25

somebody to tell me to shoot something, you

33:27

know whatever. But then he tells me to go outside.

33:30

So I wasn't in the scene for for

33:32

a third of it or however long. And then I come back

33:34

in because he says, tell look to go

33:36

outside and doing you know what, which

33:39

people ask me. I don't know what the funk he was asking me to do?

33:41

You know what, I don't know, go look around, That's

33:43

what I thought he was saying. But but you know, it

33:46

was and I always do. And I didn't know where

33:48

I was. See, you'd been doing movies

33:50

a lot more before. I was like, not much. I've done

33:52

like two or three before that. And

33:54

then that was that was like the

33:56

ship though, Yeah, but I didn't know that.

33:59

I showed it up and I was like, you just think that the fucking

34:01

script with Quentin Tarantino and Christopher

34:04

Walking like it was just another date. He wasn't

34:06

a big star yet, but I you knew, like

34:10

he had done Reservoir Dogs, Natural Bone Killers had

34:12

been shot. It was Tony Scott

34:15

and and I mean for me, it was like

34:17

I couldn't even believe I was in a room that Val

34:20

Kilmer and Christopher Walking were even I

34:23

couldn't believe I was there, like just for the audition

34:26

I was like, oh, ship, they're gonna be in this

34:28

movie. I was tripping the funk

34:30

out. I mean, that was crazy. I

34:32

didn't know any of that because I had a little I had

34:34

a little meeting with first. I went in

34:37

and read for Gamdela Fini's part. Oh,

34:40

and I memorized that whole fucking scene. Not

34:42

that I was gonna get it, but that's the scene they gave me. It

34:44

was two pages, and I

34:46

remember one of those scenes where he had long

34:48

monologue going. I fucking memorized

34:51

it. And then I get called,

34:53

literally a month later, out of nowhere,

34:55

Tony Scott wants to meet with you, and

34:57

he says, uh, I

35:00

am speak any Italian, my

35:02

you know whatever like that Australian guy right

35:05

rest in peace of course, And

35:07

then uh, I had just done a pilot

35:09

where I had to say a few things

35:12

in Sicilian, know my good

35:14

stay in bluetoo. Motiver said, I forgot what I said,

35:17

and then he said, great, great, we'll call you. We'll

35:19

call you Luca. And he just named me right there and then

35:21

and basically offered it to me in the room.

35:24

That was cool, That is cool, because great,

35:26

you'll be good in this You know, we'll call you, Luca, We'll

35:28

call you know. He came up with it, and I was like, and

35:30

I still didn't know because it wasn't a big part,

35:33

and I thought, oh, this is

35:35

cool. I wasn't that excited until

35:38

ten years later when everybody said this movie

35:40

is iconic, still talking about

35:42

it. Yeah, you know. I mean I was into it,

35:44

but I was agatting walking around like very

35:47

new, very green. I hadn't

35:49

done you know, probably

35:51

five other little smaller parts. So it

35:54

was it was it was a special set to be on.

35:56

I remember, like you had done zebra

35:59

had you had done some did zebra But

36:01

it was like zebra Head with me and actors who had

36:03

never done Ship. So it wasn't like, oh Ship, there's

36:05

the fucking guy who's playing my you

36:08

know. It was a different level

36:10

of excitement because it was like also

36:12

more of a student and you knew who was the

36:14

players world. Yeah, yeah it was. But even

36:16

like Michael Beach, I was like, Yo, that's Michael

36:18

Beach, Like I knew Michael Beach. Wasn't

36:20

that everybody was in that movie, even Sam Jackson.

36:23

I was like, why Sam Jackson doing five lines?

36:25

And and I remember being uh,

36:27

I was in the makeup trailer and Gary

36:30

Oldman, who was playing Drexel,

36:32

was asking me, uh because here her

36:34

At the time, I was if you think I speak

36:37

English poorly now? Like it's just like ninety

36:39

four. I sounded like shit. I

36:41

was like, yo, yo yo, I

36:44

don't speak like that anymore, yo

36:47

yo yo. Fucking ship yo, fucking

36:49

true man, it's a ship playing

36:52

Dick Richie and ship you know how many motherfucker's

36:54

I beat out for this part and ship the

36:57

mother This is my in my head, my anna, I'm

36:59

walking around like this. But then I walked into the

37:01

trailer and Gary Oldman was there

37:04

and he was like when he was Gary Oldman, not that

37:06

he's not Gary Olman now, but like this is like he was in

37:08

his fucking prime and he

37:10

was and I was just like I just couldn't

37:12

believe it. I just couldn't believe it. It It was just

37:14

a fun time, a fun movie and uh,

37:17

you know met you met Chris Penn,

37:19

met top Size, more, met Tony Scott,

37:21

you know, every everybody was just an exciting, exciting

37:24

time. Mean, if if if that would have been a talk

37:27

about an instagram able movie

37:29

set to be on Like if you had a fucking like

37:31

if you could, like, yo, look at me and my picture with like,

37:34

you know, there's James Gambafini. You know this motherfucker's

37:36

sake. I

37:39

mean, the fucking car was Christians Later,

37:41

Patricia, I can't without motherfucker two

37:43

romance. But

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puck with this ship though my

38:19

fantasy team lost tonight. By the way, by

38:22

the way, stay

38:24

up here. Yeah, who else? Got any other questions

38:27

in general about Raging Bull? The

38:30

wire right there? How

38:33

do you feel like this movie would play if it was released

38:36

today to modern audiences

38:38

in general? That's a good question. I mean, I'll let

38:41

you you could answer it, Paul, And I

38:43

mean, if this movie came

38:45

out now, Imagine this movie

38:47

comes out now and it's two

38:49

hours in something minutes long, and

38:52

it's it's it's not a cutty.

38:54

It's not a cutty. Oh yeah,

38:57

But imagine if it came out now for the first

38:59

time. I'm just trying to think

39:01

it would be straight to video. No, that's

39:03

no. I was thinking that it came

39:05

out now, couldn't. It's yo,

39:08

movies come out like this. You say what

39:10

you say, because we're gonna debate. It's beyond

39:13

that good. It's it's beyond like. Yeah,

39:15

there's some wonderful, interesting, little indie

39:17

type black and white movies that come

39:19

out. Although that that one the one best

39:21

picture, that Silent Movie a couple of years ago that I really

39:23

wasn't a fan of, you know, the black and white

39:27

the artist. We actually have the director Philippe

39:30

come in you weren't a fan of

39:32

you could talk to was his name Phelippe.

39:35

He feels like his name, Remember that fucking guy

39:37

during the Oscars he was like Philip every

39:42

fucking show, like the Golden Globe, set

39:44

the funk down, let me see your paperwork?

39:46

You what

39:51

happened to that movie? Well? So,

39:53

but I just think it's so it's such

39:55

a masterpiece. It's so good, which still rise

39:57

above you know whatever is today

40:00

the Star Wars. I mean it would people would still find

40:02

it and it would become like the King's

40:04

speech a couple of years over right, it

40:07

was that good. It became a blockbuster,

40:09

you know, the the you know the reality of it. When

40:11

the movie actually did come out, it wasn't

40:13

a financial success.

40:19

It got it got it got bigger, but financially

40:22

it wasn't de Niro one best pick best

40:24

actor. But again, you know,

40:27

ordinary people beat it. I mean the

40:29

fact that it was nominated shows that the

40:31

climate was different. But imagine

40:34

in this day and age, this movie comes

40:36

out in this politically

40:38

correct climate and you have your star

40:42

physically abusing his his his

40:45

wife and you know, and and all that

40:47

stuff. It wouldn't be Imagine the fucking

40:49

response. Imagine that. I imagine the

40:51

response from you know, the

40:53

the the the politically correct,

40:57

you know Williamsburg crowd. Not

41:00

to say that it say it should be any different, you

41:02

know, because the abuse in the movie, like I said, once

41:04

it gets to the physical abuse on the wife, it

41:07

becomes like, oh ship, this isn't just sucking

41:09

some crazy guy. This is like, you know, it

41:11

takes a step in the other direction. But I the

41:14

film, the film lasted the test of time,

41:16

like like he says in the movie you never got me down right,

41:18

like it ages like fucking

41:21

fine wine. And the beauty of it, the

41:23

black and white of it, the performance

41:25

of it. It ages. So I don't know,

41:27

I mean, I just don't think that. Who would how

41:29

would you get this movie made? Now?

41:33

It wouldn't be able to get made. You wouldn't be able to shut

41:35

down production. Who would be an actor and a

41:37

director tandem that would take that would

41:39

be like that that could afford

41:41

the comforts of making

41:43

a movie for a year and a half. I just I just

41:45

don't see you could happen. I mean, there's a lot, so many great

41:47

things. It's just a different kind of movie. In two hours and

41:49

twenty minutes, if nothing's blowing up the

41:52

theatersm now, you gotta cut that and it's in black

41:54

and white? The fuck two hours

41:56

and twenty minutes, something's gotta blow up, or somebody's

41:58

got to go to the movie some thing, or there's

42:00

gotta be like a loaf shot something

42:03

smoking magnificence. It's gotta happen. That

42:06

might happen if it was out today, it would be it

42:09

may it may have a tougher a tougher time

42:11

being made. It definitely was a magical

42:13

time. Every frame was

42:16

like almost like a magic trick. I saw I watching

42:18

it tonight. I said, this is beyond all

42:20

right, you know, it's just beyond it. The

42:23

the the thing that trips me out, and we could

42:25

take more questions, the thing that trips me out about raging

42:28

bowl. And and you know, obviously

42:30

I've watched it and all that stuff, and you know, with the DVDs

42:32

and the laser discs and now even on

42:34

the computers, you could look at it frame by frame

42:36

and all that ship and I know, like it's

42:39

really like because the film itself is shot

42:41

pretty basic outside of the boxing ring,

42:44

but some of those shots in the ring, the

42:47

camera revolves three sixty and then it

42:49

compans. There's so much happening and you don't

42:51

feel any of the cuts. And of course Scorsese

42:55

was in sync with his with his editor,

42:57

Thelma Shan Mocker maker

43:01

Um, and they were like that was another relationship

43:04

that was thriving. It wasn't just de Niro and Scorsese.

43:06

He was Filma and and and

43:08

and and and and uh and and

43:10

Scorsese. That was like something that they

43:13

were in their fucking pocket. Um

43:15

so, I mean, and you know there's

43:18

other great films, there's plenty of other great films

43:20

systems he was. Mr

43:23

Scorsese told me about going

43:25

to Woodstock where he was an

43:28

editor with Thelma on it. Right. I think

43:30

he was hurt something the movie

43:32

would stock, the rock and roll they

43:35

and he was talking about being backstage with her

43:37

and in the rain and they couldn't get to their car

43:39

for three days because you know, the traffic

43:41

jam, and he hung out backstage with Hendrix

43:44

Ship. Claudia. Claudia

43:47

took me to go see Why would you take a ten

43:49

year old to go see Raging Bulls? Claudia?

43:52

Why? You know? Because

43:54

I was bored? Yeah, I know, to see

43:56

what would happen. Michael, Did you know that

43:59

nz Gosha's mother, that's my stepdaughter,

44:03

Uh was going out with Martin Scorsese

44:05

when they did Woodstock and and

44:08

I all that ship? Yes I did. Okay,

44:10

that's that's not a question, Claudie. And nothing.

44:15

I did know that, Yes, I did know. I didn't know. I

44:17

grilled her too. Okay, she's gonna

44:19

be at Christmas? Oh good, Okay,

44:23

but what do you get dad, I'm just doing uh

44:26

more. I'm gonna take two more questions and then we're

44:28

gonna shut it down, and uh I'm

44:30

gonna go, uh find

44:33

out why my fantasy team lost. Funked

44:36

up. I lost the fantasy

44:38

football. It's like fucking drugs. It's

44:41

terrible. Yeah, I feel for

44:43

you. It's bullshit. I

44:46

love it. I have a love hate relationship with it. What's

44:49

the question, my friend? I'm

44:51

on a J. Moody's favorite drink over there. Hopefully

44:53

this isn't a stupid question. But you've talked

44:55

about how great Raging bull is. I

44:57

just want to know how much. How

45:00

has it um affected

45:02

you as an actor or influence you as an actor? Like,

45:05

I don't know even ten years old, when you saw it, did you know

45:07

then you wanted to be an actor? Or like later

45:09

on, when you knew you did it, how did it affect you? That's

45:11

a good question. Um, I didn't

45:14

know I wanted to be an actor, Like when I

45:15

I remember this. First of all, I had

45:18

been in love with Rocky and

45:20

Rocky too, I believe came out around

45:22

the same period of this, so I had loved That was why

45:25

I believe my sister took me to the movie, like

45:27

and also she's probably babysitting. She probably had

45:29

she wanted to see it. And I remember seeing

45:31

the movie. I mean imagine seeing this as a ten

45:33

year old in a theater, not

45:36

on a DVD where you could escape and go to the bathroom,

45:39

like as a movie going experience. When movie

45:42

going experiences were movie going experiences,

45:44

it was like the whole day was scheduled

45:46

around going to the movie. I

45:48

just remember enjoying it on an emotional

45:50

level, not understanding it at all, um,

45:53

you know, as far as personally. To

45:56

be totally honest, you know, I feel

45:58

like and and one of the people that I talked to on

46:00

this podcast uh that that we're

46:02

doing tomorrow, I was, I was talking like, why men

46:05

look at this film and

46:07

it's not like it's the Lone Ranger, It's not Batman.

46:09

And I don't think we put this Jake Glomatic

46:11

character on a pedestal, but I have to believe

46:13

to a certain extent that

46:17

men are gonna view this film differently

46:19

and view this Jake Glomatic character different

46:22

than a woman. And and and

46:24

to answer your question, I was like, you know, like and

46:26

asking Why would I? Why am I still talking about

46:28

this movie? Why am I? Why are we? Why is it something

46:30

that means so much to me? And and and more

46:32

so than it inspired me as an actor, because I think

46:35

every actor watches

46:37

this movie and and and and and

46:39

drools with just you

46:42

know, adoration and hopes, dreams

46:44

and whimsical you know, things like you

46:46

just wish you could have the part working with h

46:48

and that great opportunity. But the

46:51

thing about the character, his um

46:55

sort of self sabotaging, his

46:58

jealousy is insecurities

47:01

in a weird way, I related to that

47:05

more and before I really

47:07

even knew what DeNiro was doing. Um,

47:10

that's not necessarily a good thing, but

47:12

but it's the reality of it. And I think that's why men,

47:15

you know, while why why we respond to this

47:18

movie differently than

47:20

women, It's because we don't necessarily

47:23

like we're not like admiring the

47:26

Jay Clamatta character, but we can relate

47:28

to it. You can relate to that

47:31

that that that fucking bottom

47:34

bear, you know, like sort of

47:36

jealousy and that rawness and that insecurity.

47:38

I think, on your on your whether

47:41

you want to admit it, but on your worst day, your best

47:43

day when you're when you maybe it's just to yourself

47:45

when you're laying on a pillow. Every man has

47:48

has had those kinds of, you know, feelings, and

47:50

I think that's what I related to more,

47:54

you know, a strange way. Um

47:56

And and that's what I think is is I think for

47:58

me titilating um to

48:00

to explore I said titillating? Is

48:03

that the right way to say it? Yeah?

48:06

Fun No.

48:08

But the fact that I I don't think

48:10

I ever I know for sure. I never got

48:13

a diploma in high school. I don't think they

48:16

because I owed books and Martin

48:18

Luther King high school, you know, you had two hand in

48:20

your books. And I remember somehow

48:22

I got into some fucking flunky college

48:25

and then they were like, we're not going to give you the diploma

48:27

unless you pay the sixty three dollars for your books.

48:29

And I wasn't gonna go back to the fucking school.

48:32

They might fucking arrest me for something. Who the fuck

48:34

knows this is? This is? You

48:37

know, I mean, I was, I was that was

48:39

I was on the line. You know, anything could have happened.

48:42

So the fact that I said titillating is

48:44

just a big thing it's a big it's

48:47

an intellectual expression. You're wearing

48:49

glasses. I'm saying titling Like we've grown since

48:51

that fucking fucking set, that true romance

48:53

set. So

48:55

that that to answer your question. But as an actor,

48:57

like there's no actor director who's

49:00

ever seen that movie or actress

49:04

and not admired it. It might not be his is

49:07

like their favorite favorite thing, but there's no actor

49:09

that's not like that's like, that's it.

49:11

When you talk about method acting, you talk about a performance

49:14

by a mall, that's it. When you talk about

49:16

camera movement direction like, that's it.

49:18

It might not be your favorite thing. You might you know, go

49:20

different comedy, but like you're gonna go through that phase

49:23

of like, yo, look at fucking de Niro day

49:29

and I don't say this. I worked with Robert de Niro

49:32

twice. I've had dinner with him a couple

49:34

of times and ship, and I've never mentioned

49:38

Raging Bull to him.

49:40

I knew better because he's

49:42

fucking roppertunity. He don't want to hear this ship. But

49:45

I was on a plane with him one time and he happened

49:47

to be sitting next to me, and I swear

49:49

to God, I was like, you know, he was talking

49:51

my fucking earwolfs to me. I'm

49:54

on a plane. I'm doing this movie called Navy

49:56

Diver, Men of

49:58

Honor. It was the first title

50:01

was Navy Diver. We're

50:04

shooting the movie, and

50:06

and and uh, first

50:09

class. I'll tell you what happened. DeNiro

50:11

finished like at six that night. We

50:13

were gonna we were gonna go all night. They got him

50:15

out so he could catch the last flight so

50:17

that everything was scheduled to boom. DeNiro

50:19

wraps. We shoot until three thirty

50:22

in the morning. Um,

50:25

I catch the next, the next, the first

50:27

flight in the morning, which is like six. I go

50:30

from from the set with my bags to the

50:32

airport and all I want to do is

50:35

plane takeoff. I'm in first class. Plane

50:38

takeoff. I want to go to sleep. I've been literally

50:41

been up all night shooting a scene in the water. It's

50:43

just like I would just want the plane take off, and I'm and

50:45

I'm I'm like it's a small first class,

50:47

but his first class, and I'm just just take this thing

50:49

off. I want to go to sleep, and I want to get back to

50:51

New York. And as the plane is, you

50:53

know, you know, the gear belting down

50:56

and they're starting, you know, I see somebody. I'm like,

50:58

oh, ship, that looks like Bob. And I'm

51:00

like, oh, ship, that is Bob. And I had already

51:02

noticed that no one was sitting next to me, so

51:04

I was like, I'm gonna get a funking. I'm in first class and

51:06

I got two seats. This is gonna be a great flight.

51:09

And I'm like, you know, like my adrenaline,

51:11

I'm twenty nine, Like

51:14

my adrenaline is like, oh fun. Denro's

51:16

gonna come sit next to me on and I

51:18

had already been working with him the night before. So

51:20

he sits down next to me, Hey, Mike, you know,

51:22

and he would greet me. I swear to guy, I'm not bullshiting.

51:25

You're probably like, this is bullshit. But he would greet

51:27

me with like a like a like a little kiss on the cheek.

51:30

So I'm just like the fact that that's happening.

51:32

You're talking about like Scorre say, you

51:34

know, I'm tripping the funk out. So

51:37

I'm sitting next to the nero the whole time, and I

51:39

swear, I'm saying to myself, don't fucking

51:43

talk to him. Don't say fucking Jake Glamata,

51:45

don't say raging bull, don't don't

51:47

Travis, No, he would have fucking it would

51:49

have been the beginning of the end. He doesn't want

51:52

to talk about that ship. Can you imagine being up

51:54

He missed his flight. So

51:56

I'm reading Vibe magazine sitting

51:59

next I have my magazines. I'm so freaked

52:02

out that he he's talking to me and all he

52:04

wants to do Vibe magazines a magazine

52:06

in the nineties, you know, it's like hip hop magazines girls

52:08

and and I say this in all due respect,

52:11

all he wanted to talk to me about who's that girl?

52:13

Who's that girl? And I'm like, and I'm

52:15

like, He's like, you know where. I'm like, I don't fucking She's

52:17

in a clairol ad but I don't know. In

52:20

my head, I'm saying this. So then I

52:22

get off the plane. So this goes on. He's totally

52:24

sweet. I'm about to have my first son. He's talking to

52:26

me about being a parent and lah lahlah,

52:28

and it's just very sort of casual, but he's talking.

52:30

I want to go to I'm gonna shut the funk up, Bob,

52:33

we just shut the funk off.

52:35

I want to go to sleep. Enough already, I'm

52:37

now I'm reading supports those ship I don't know who she

52:40

is, Serena somebody I don't know. Just fucking

52:42

stop. You know, in my head I'm saying this, but I'm

52:45

like, I'm like, are bullshitting

52:47

but nice? Sweet? I want

52:49

to do de Niro festival and

52:52

like you get people to show

52:54

up like you could come in any fucking costume you want,

52:56

and then like I wanted, my dream is to get

52:59

like little kids to work through the

53:01

Joe pesci Niros. You funk

53:03

my wife, but like have nine year olds do it? Imagine

53:07

that like you get like some nine year old

53:09

kid, I'm asking you. I'm gonna

53:11

ask your answer all the right questions. You're not gonna answer

53:13

the right way. I think it would be great. So

53:17

so then we get off the plane. He has

53:20

like one garment bag, and

53:22

as soon as we get off the plane, the person who

53:24

is supposed to be there for him

53:26

isn't there. So now I'm like I

53:29

said to him, I said, I'll walk you, Bob, I got you, because

53:31

I'm like, I'm gonna I'm gonna protect my

53:33

fucking guy. I love this fucking guy. It's like Dr

53:36

J Muhammad Ali, fucking

53:39

fucking Tony Monaro, Robert DeNiro.

53:41

I'm like, I'm gonna I'm gonna get his bag.

53:43

You know, he's not that big. We're walking through the airport, I'm

53:46

like, we're gonna find him, don't worry, you know. And we're

53:48

walking through and I'm like, think, I'm gonna shield everybody

53:50

from Robert DeNiro. I don't want anyone funking

53:52

with him because I know he doesn't want to be funed with. And

53:55

the only paper that they want to talk to through the

53:57

airport is me. No one recognized Robert

53:59

DeNiro one time. That's

54:01

the magic of him because in real life he

54:04

sort of disappears. All

54:06

right, this can be the last question. Then we're gonna

54:08

shut it down. Uh well, first

54:10

of all, this experience meeting

54:12

Michael Rapp report, thanks to my friend

54:15

Jordan's, the producer told me to

54:17

come out. I'm gonna tell the story

54:19

you just told about DeNiro about while standing

54:21

there watching you do de Niro as Michael Rapp

54:23

reports, those pretty dopes at that um.

54:27

But based on the movie, this is the first time

54:29

I ever saw it. The first time watching it, so

54:33

one thing that stands out is that movies a

54:35

lot of times nowadays or even TV shows, they

54:37

really hit you over the head with like here

54:40

is the point, Here's where you're supposed

54:42

to pay attention, Here's where the music cues

54:44

up, you know what I'm saying. And in that movie, if

54:46

you watch it, there's just like ship happens

54:49

and you kind of are like, what the why,

54:52

Like what is going on? You're just watching it trying to figure

54:54

out this character. So if you were showing it

54:56

to someone for the first time, what

54:59

would like do you think some of that now, Like for

55:01

a kid who's fifteen, who everything has

55:03

been babied for them, explaining

55:05

you know, themes when they're supposed to be

55:07

upset, when they're supposed to be scared, do you

55:09

think that's more powerful or now that kids

55:11

would just totally miss it. I

55:14

think they miss it to the kids would miss it today,

55:16

But I still think a little

55:18

bit more grown up, mature audience would still

55:21

consider it a message. You know. It's interesting when

55:23

when I because my kids have heard me talk about that

55:25

movie, and then a couple of years

55:27

ago, I was watching or was on TV and we were like flipping

55:29

through a couple of scenes more and and

55:31

and I remember my kids they were probably like eleven

55:34

and thirteen. They

55:36

they got it the same way I got.

55:38

Like they were asking me questions, Well,

55:40

why is he doing this? Is that real? Is he really?

55:42

Did he really? You know? But there was something that

55:45

drew drew them in about it. And that's why I

55:47

think it was about me, Like I didn't still

55:49

different the sons of an actor. And that's true,

55:52

that's true. But but but but but I I

55:54

could tell they were there was something I

55:56

think again like there's it's more of that movie. It's

55:59

because things don't there's not big

56:01

plot points, nothing truly happens,

56:04

you know, Like I mean, there are things

56:06

happen, but it's more of a feeling.

56:09

Like it's like a feeling like more than

56:11

anything, I think he created a mood those

56:14

quiet moments, you know, the looks, the

56:16

subtle slow motion you're creating

56:19

this mood, this tension, this, this,

56:21

this uh neuroses. You

56:23

know that slow motion that he was doing, it's

56:25

creating this. You know, it influenced

56:27

people, and you see Scorsese's influence

56:30

in influences like Elia

56:32

Kazan And you know, I could tell you I'm

56:35

probably the only person, uh who

56:38

has because this is

56:40

just where I'm at in my life who has the Raging

56:42

Bowl laser disc and the laser disc. For some

56:44

reason, when it was put on DVD, the

56:46

the extra ship wasn't put on the DVD.

56:49

And you know, like I learned from the

56:51

laser disc. Uh. You know, if you

56:53

look at on the waterfront, when Marlon

56:56

Brando was on the roof, we what's

56:58

her name, Eva, Marie Saint that her

57:00

name Claudia, you know, and they're

57:02

up there and with the pigeons and the and

57:04

the fence, that's where he got the

57:06

idea for when you know, when he meets,

57:09

that's where he got Yeah, he wanted that like that. Yes,

57:12

I mean so you feel other people's influence

57:14

and it all just and he but he's not stealing.

57:17

He made it his own. Um.

57:19

I don't know what else to say. Uh. I

57:21

think this is uh, this is this has been a great

57:23

pot because I appreciate you coming up here. I like when

57:26

you can you just put your glasses on because it's hard to it's

57:28

better for everybody see here. Um No,

57:31

but I I appreciate you guys coming. Um.

57:34

You know, I'm glad you uh you got

57:36

to see the film. Um I I you

57:38

know, meet me and Gimo and Eddie. Um

57:40

again, g pipe down, it's my fucking

57:42

show because you're just chiming in taking

57:45

a break.

57:48

But I appreciate everybody come and hope you enjoyed

57:50

yourself. And you know, you

57:52

know if you guys want not. The

57:55

friends of mine who I know by first name basis,

57:57

we do have soft ass iron wrappport

57:59

pot has t shirts for for the for the

58:01

fans and people are not on the first thame basis

58:03

with and todays for coming. You got you can

58:06

sit on the music mouth