TMNT II Director Michael Pressman Interview

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[SPEAKER_01]: movie lovers, I'm open to shows, so today I haven't so you have a very special guest for me.

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[SPEAKER_01]: I had Michael Presman, the director of the Kineshman Digital's movie, saw some work for Richard Prior.

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[SPEAKER_01]: His name is just a staple in the entertainment industry, and I just wanted to say Michael, thank you so much for wanting to come on my show.

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[SPEAKER_00]: Thank you.

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[SPEAKER_00]: It's a pleasure to be here and and you know we before we started we were talking about Marlon Brando right behind your right head there You know the godfather turns out to be one of your favorite movies my favorite movies even though we're talking about the 80s in the 90s We go back to 1972 is it 72 and I believe it's 1972 if I'm not mistaken I actually review that I'll back in 2020 at believe it or not well you want the ultimate mind blowing yeah

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[SPEAKER_00]: Okay, sir.

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[SPEAKER_00]: Are you ready for the, okay, are you ready for it?

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[SPEAKER_01]: Yeah, tell me.

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[SPEAKER_00]: Okay.

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[SPEAKER_00]: So I've said a little, you know, I've come from theatrical background, my father.

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[SPEAKER_00]: theater director and was an acting teacher and mother was a dancer and a group in New York, but it was a very New York kind of growing up, but we weren't in show business in the sense of Hollywood, but he was also blacklisted the home of Carthy period too long to explain about that, but he came back after having directed live television and stuff

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[SPEAKER_00]: a TV series called NYPD, not NYPD Blue, NYPD.

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[SPEAKER_00]: New York Police Department started Jack Warden Bobby Hooks, Frank Converse, and he's directing an episode and I go to visit him.

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[SPEAKER_00]: I'm...

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[SPEAKER_00]: 17 because I'm going off to college and they're shooting in New York and they're doing a scene in the hospital room.

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[SPEAKER_00]: And he says to me I want you to meet this kid over here.

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[SPEAKER_00]: He's a hell of an actor hell of an actor.

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[SPEAKER_00]: We walk over the guy sitting in the hospital bed is none other than a very young Al Pacino.

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[SPEAKER_01]: Oh wow.

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[SPEAKER_00]: That's amazing.

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[SPEAKER_00]: Yeah, and he says I'll just want you meet my son and it's like I

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[SPEAKER_00]: Very very into his own space.

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[SPEAKER_00]: I thought it, you know, it was pretty serious actor.

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[SPEAKER_00]: And the episode It's kind of legendary and it was the first thing that Pacino actually had ever done for film And it's it's uh no one can get it.

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[SPEAKER_00]: I actually have a copy somewhere I've got to put it on YouTube, but I've put it on the opening sequence.

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[SPEAKER_00]: So if you type in

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[SPEAKER_01]: you know, NYPD, Al Pacino, maybe that's a check that out because I had no idea that you started off like in TV and then transition into only one episode.

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[SPEAKER_01]: Okay, because I knew at that time, like I know that actors at that time was like, okay, I'm just a movie actor.

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[SPEAKER_01]: I'm not going to go into TV and then now you're seeing a transition into that.

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[SPEAKER_00]: Yeah, but in New York, they were

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[SPEAKER_00]: Al Pacino was doing Indian once the Bronx or noza and he was on off Broadway and Dustin Hoffman was off Broadway and you know and if they could get a couple of grand to do a week on an episode awesome

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[SPEAKER_01]: I agree.

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[SPEAKER_01]: That's fantastic.

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[SPEAKER_01]: And I love Al Pacino.

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[SPEAKER_01]: I think that's actually amazing that you got to beat him.

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[SPEAKER_01]: And then just to be able to see when he's capable of it's like a young Al Pacino acting in this in like PD show and then moving on to later on and let you have key you have Godfather you have Godfather too.

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[SPEAKER_01]: Sir, go dog day after noon.

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[SPEAKER_01]: But you know, I do have a question and I do want to go ahead and talk about team and team.

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[SPEAKER_00]: Yeah.

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[SPEAKER_01]: But when you came into onto the secret of the use, what did you feel was most important to preserve from the first film and what did you want to evolve or do differently?

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[SPEAKER_00]: Okay.

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[SPEAKER_00]: What I actually wanted to preserve very clearly was not only the relationships between the four of them, but to grow them.

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[SPEAKER_00]: as well.

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[SPEAKER_00]: In essence, the film went a little deeper into their back stories about what happened to them and how they became turtles.

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[SPEAKER_00]: And we sort of continued to define the characteristics of Donnie and Rafi and Mikey and Leo.

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[SPEAKER_00]: And I also was very pleased and grateful that we were

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[SPEAKER_00]: because they did an amazing job.

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[SPEAKER_00]: They improved, were new improved heads and servers.

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[SPEAKER_00]: the mechanics of it.

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[SPEAKER_00]: It was so primitive in the first one.

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[SPEAKER_00]: And we were a little more advanced in retrospect.

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[SPEAKER_00]: It's very primitive.

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[SPEAKER_00]: But at the time, it was kind of mind-blowing, you know?

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[SPEAKER_01]: I mean, right, it's practical effects.

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[SPEAKER_01]: It's something that could you could touch and something that you can feel.

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[SPEAKER_01]: And that's something that Anastasia Alpman and I talked about before when we were talking about, how's it on at Hill?

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[SPEAKER_01]: I like sets that you can actually touch.

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[SPEAKER_01]: And feel and add the physical tality of it nowadays is all CGI.

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[SPEAKER_01]: Bye.

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[SPEAKER_00]: We built.

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[SPEAKER_00]: We built a indoor.

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[SPEAKER_00]: a train station with a train.

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[SPEAKER_00]: And I mean, all that was sets.

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[SPEAKER_00]: Now, the reason it had to be sets interestingly enough was we had to always design the sets so that the puppeteers who were off camera could see the actors and the actors could see them because the puppeteer

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[SPEAKER_00]: was a person who had a headset, had a monitor, so he could watch the action, and he had servers over his mouth.

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[SPEAKER_00]: So when he said, hello, Mikey, it was remote controlled to the actual turtle hit.

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[SPEAKER_00]: Which is amazing.

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[SPEAKER_00]: Yeah, so the all the servers were in also the turtle's head, which weighed about 20 or 30 pounds.

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[SPEAKER_00]: So the mind actor who played a turtle would be able to go and then the face would move.

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[SPEAKER_01]: This was going to say, too, even the facial structure of the cosmetics and the makeup designs was really fantastic, even watching it on 4k and I remember going to the theater.

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[SPEAKER_01]: As a kid, stuff of my face with popcorn and of course my mom's probably being annoyed with me, but I just remember just being geeked out again to see my turtles again and then the facial structure of it in the set pieces the set designs to me for just fantastic just that underground train station I love that hideout I thought it was perfectly well done versus the old layer that they had in the first one I thought this was actually the layer that I was going to hang out with yeah I was going to be with that yep.

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[SPEAKER_00]: Yep, yep, and you know, we had all the cobwebs up there and all that stuff and and you know, I love when he did the lighting thing, we had all the electrical stuff go on and you know, it was it was brilliantly designed by a production designer architect Roy Ford Smith, his name was Ace from Canada and he did the first one and the second one.

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[SPEAKER_01]: Wow, okay, that's really neat that they kept the same set designer on for the first two films.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: And he actually shows it has a gravitas for us as the audience to be able to be stuck back into this world again.

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[SPEAKER_01]: And it seems like nothing was really changed within the time of the first one and also in the second one.

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[SPEAKER_01]: Another thing I want to say though, Michael, that I feel like that you really captured is the look of New York.

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[SPEAKER_01]: And then nostalgia of the 97 New York.

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[SPEAKER_01]: And just seeing everybody eating pizza.

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[SPEAKER_00]: And I'm honestly, I'm going to own that one.

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[SPEAKER_00]: I'm a major pizza lover.

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[SPEAKER_00]: I am too.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: And I've had to dial back a little as I've gotten older.

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[SPEAKER_00]: It's not the healthiest thing in the world to have.

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[SPEAKER_00]: But literally after school with my best friend,

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[SPEAKER_00]: Jeff, who I still have contact with.

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[SPEAKER_00]: They wrote me an email literally yesterday.

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[SPEAKER_00]: We were now 14 and 15 and whatever.

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[SPEAKER_00]: After school, we would go to Broadway in New York.

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[SPEAKER_00]: We all grew up on the Upper West Side.

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[SPEAKER_00]: And we would have a slice at John's Pizza.

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[SPEAKER_00]: And then we go down the block and have a slice at Sal's Pizza.

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[SPEAKER_00]: And discuss which was the better pizza.

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[SPEAKER_00]: And then we go home for dinner.

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[SPEAKER_01]: You know, that's amazing.

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[SPEAKER_01]: Yeah, of course.

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[SPEAKER_01]: That's a true New Yorker though, even from someone like me who's originally from Boston, we would actually do something similar to that go to different pizza parlors.

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[SPEAKER_01]: as well and try on different pizzas.

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[SPEAKER_01]: And I think you actually capture that instance of the fact every single of my in seeing that pizza scene.

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[SPEAKER_01]: I want to call up pizza hot myself.

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[SPEAKER_01]: I want to run me pizza.

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[SPEAKER_01]: Well, there's no time.

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[SPEAKER_00]: So I wasn't necessarily designed, but I basically said, I want to do an opening sequence where everybody's eating pizza.

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[SPEAKER_00]: And we just rift on it.

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[SPEAKER_00]: You know, for the police eating pizza,

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[SPEAKER_00]: people walking down the street eating pizza and you know, and then you go into the place where Kino has to, you know, get his own, get the pies and everybody's tossing the pizzas anyway.

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[SPEAKER_00]: That was that was one of my additions to the script.

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[SPEAKER_01]: That's really great.

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[SPEAKER_01]: I really do appreciate that because even now owning it fantastic, I love that scene so much.

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[SPEAKER_01]: Then, you know, another thing I wanted to know was like when it came to direct in the actual sequences,

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[SPEAKER_01]: with the choreography, camera placement, or just work with the physical limitations of the costume.

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[SPEAKER_00]: Uh, the the biggest challenge was not only camera placement, but figuring out

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[SPEAKER_00]: the actual staging and what we would do, and we had two units shooting.

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[SPEAKER_00]: So I would shoot 50% or 60% of the action sequence, take me about, like, let's say the junkyard.

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[SPEAKER_00]: So I shot the beginning of the junkyard,

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[SPEAKER_00]: and then any of the stuff with dialogue and then the middle of the junkyard and then after I think it was Donny who was thrown by one of the foot and he lands.

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[SPEAKER_00]: And then I would leave, go on to another sequence and the second unit director would come in.

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[SPEAKER_00]: We worked with storyboards and we had drawings.

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[SPEAKER_00]: He would then do the far more complicated time-consuming shots, like the shot of the turtle flying through the air.

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[SPEAKER_00]: That took one day to shoot that one shot.

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[SPEAKER_01]: Oh, wow.

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[SPEAKER_01]: That's amazing.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: And it ended one.

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[SPEAKER_00]: And it was a stunt guy, because I'm going to say, how do we do it?

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[SPEAKER_00]: Because it was the movement.

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[SPEAKER_00]: But yeah, it was one stunt guy.

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[SPEAKER_00]: Oh, and you know, I always tell everybody, it takes four people to do a turtle.

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[SPEAKER_00]: You know, it takes the puppeteer, the mine actor with the heads and the servers.

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[SPEAKER_00]: And then the stunt turtle.

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[SPEAKER_00]: So he wears a light head.

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[SPEAKER_00]: So there's no servers, but you don't see there's no movement, so that he can do flips and jumps and all that stuff.

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[SPEAKER_00]: And then the fourth person is the actor who shows up after the film is finished and goes into a studio and re-loops the whole film.

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[SPEAKER_01]: Oh wow, okay.

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[SPEAKER_01]: That's pretty interesting.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: Okay.

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[SPEAKER_01]: I like the process of that where you actually have all those steps in order to make a scene work and it actually does work in this favor, especially with that set with the junkyard because it seems like the junkyard part of it probably the most challenging thing within that whole entire scene because of the fact it looks very close together to where people can't really move very claustrophobic in the sense.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: And, and, and, and I will say, um, nothing was faked.

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[SPEAKER_00]: you know, and nothing was CGI did nothing was done, you know, post.

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[SPEAKER_00]: It was all the real action.

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[SPEAKER_00]: We built the East River and the bridge and the turtle sense, but that was a tank that we had water, you know, wants to admit about, I don't know.

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[SPEAKER_00]: to a foot and a half deep or something like that.

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[SPEAKER_00]: And they got under water and they popped up.

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[SPEAKER_00]: Crazy.

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[SPEAKER_01]: That's crazy though.

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[SPEAKER_01]: But that said pieces also another chef's kiss, like seriously.

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[SPEAKER_01]: That was another thing that as a kid, like being shocked at how well it was designed, even now is an adult watching it.

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[SPEAKER_01]: I'm just still mind blown by how great this actually still looks.

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[SPEAKER_01]: And just the way that you were able to direct that.

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[SPEAKER_00]: Well, thank you.

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[SPEAKER_00]: I think that's one of the reasons why the film has really lasted.

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[SPEAKER_00]: The other thing that was different that we very consciously did was added the humor, kept it much lighter and kept it.

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[SPEAKER_00]: Not lighter, we still kept the richness of the darkness and all that.

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[SPEAKER_00]: But we really injected a more

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[SPEAKER_00]: humorous approach to everything that they had a sense of humor about everything.

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[SPEAKER_01]: Right, and I wanted to talk about that too because I know in the first film they're using their weapons in the second film, they kind of because the parents complaining because the first one was so violent, was that a challenge for you to be able to dub down the actual sequences or was it easy for you to set to be able to film those sequences?

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[SPEAKER_00]: It wasn't that it was hard.

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[SPEAKER_00]: or easy.

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[SPEAKER_00]: It was that it was very carefully thought out.

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[SPEAKER_00]: I mean, you know, we couldn't have numb chunks.

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[SPEAKER_00]: So we figured out what to do and we came up with that great idea of the hotdogs, you know, in the opening sequence.

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[SPEAKER_00]: So each time we substituted something, we added a component that gave it a sense of humor, but kept to the same thing.

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[SPEAKER_00]: You know, they, they, we had the same stunt coordinator, you know, Pat Johnson, who was brilliant went on, you know, he did karate kid and all those movies and he was amazing.

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[SPEAKER_00]: And it was really just a challenge to change the tone, but we still had a lot of, you know, we just didn't have graphic action, you know, graphic.

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[SPEAKER_01]: Right.

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[SPEAKER_01]: And I just feel like that it actually captures their humor than the turtles.

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[SPEAKER_01]: Each one has a different weapon that they use.

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[SPEAKER_01]: But each one of the, like you said, the sausage thing is actually perfect for one of the turtles to use because that's who they are and what they represent.

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[SPEAKER_01]: So it actually works out well within the favor and everything too because I was like always wondering

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[SPEAKER_01]: Something of a challenge because I know in tone, but the first one is a lot different and then you go into the second one is like, you got for now ice you have turtle's doing a dance number, you know, yes, so that's also another thing I want to bring up is like what was the idea behind the penala ice.

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[SPEAKER_00]: What has been was, I will honestly say, I was not a part of that, meaning that I found out who he was.

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[SPEAKER_00]: But it was a deal that was made that he's going to appear in the club.

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[SPEAKER_00]: That's, we've been writing the script that gets to the club and they went, we just scored vanilla ice.

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[SPEAKER_00]: He's going to be showing up in a couple of weeks and he's written a song.

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[SPEAKER_00]: Okay.

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[SPEAKER_00]: So we hire choreographer, Marna Garwin.

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[SPEAKER_00]: someone I knew.

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[SPEAKER_00]: And she came up with the whole dance, the ninja dance to it that they did.

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[SPEAKER_00]: The actors loved it.

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[SPEAKER_00]: They rehearsed for a good week.

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[SPEAKER_00]: And then they put on the suits and it all came together.

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[SPEAKER_00]: It took about five or six days to shoot that whole club.

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[SPEAKER_01]: I can't see it though because in a sense it's like, okay well now I'm shooting a movie but now I'm having there's probably shoot a music video to go with this movie.

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[SPEAKER_01]: So it's told different

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[SPEAKER_01]: Because you're not expecting to film on music video.

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[SPEAKER_01]: You're expecting to film a full on movie.

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[SPEAKER_01]: And then all of a sudden after the vanilla ice bed happy ends, then you're going back to the full movie itself.

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[SPEAKER_01]: So it's kind of like an intermission to a music video.

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[SPEAKER_01]: And then you get a movie after that.

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[SPEAKER_00]: Right.

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[SPEAKER_00]: Well, I think, you know, it actually is you're describing it kind of reminds me of, um,

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[SPEAKER_00]: one of the Monty Python films.

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[SPEAKER_00]: I don't know which, which, I'm forgetting the name.

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[SPEAKER_01]: Oh, holy grail, or?

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[SPEAKER_00]: Oh, later.

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[SPEAKER_00]: It was when they had a short attack, one of the other stories.

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[SPEAKER_01]: Oh, okay, yeah.

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[SPEAKER_01]: I know what you're talking about.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: Anyway, it was like right in the middle of the movie, we go to a music video.

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[SPEAKER_00]: And then we go back to the movie, you know?

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[SPEAKER_01]: I feel like it still captures my attention.

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[SPEAKER_01]: It doesn't pull me out or anything.

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[SPEAKER_01]: So I feel like it still adds that flavor to it.

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[SPEAKER_00]: Well, that's it.

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[SPEAKER_00]: And then, of course, you know, we had the brilliant David Warner who played the professor who, you know, I have this great shot of him in the midst of the whole thing and he's dancing with every all the young kids too, you know.

16:29.600 --> 16:29.900
[SPEAKER_01]: Right.

16:30.360 --> 16:31.741
[SPEAKER_01]: I love having him in there too.

16:31.781 --> 16:37.504
[SPEAKER_01]: I think that he just added us, uh, you know, the perfect humor with the turtles interacting with them.

16:37.864 --> 16:42.766
[SPEAKER_01]: Then also to try and take his role series, though, too, even though he's talking to turtles.

16:43.427 --> 16:48.529
[SPEAKER_01]: So it's kind of mind blowing as a character like him to be able to talk to the turtles.

16:49.029 --> 16:50.230
[SPEAKER_01]: And that kind of way too.

16:50.250 --> 16:51.230
[SPEAKER_00]: He was very, very

16:56.973 --> 17:01.755
[SPEAKER_00]: And, you know, he was, he, so he gave it real dimension, you know, right.

17:01.955 --> 17:08.277
[SPEAKER_01]: And I do have another question, too, about Ernie Ray's junior, because I know he's a stunt person as well.

17:08.838 --> 17:12.139
[SPEAKER_01]: And I know he was playing one of the footclans at one time.

17:12.719 --> 17:15.920
[SPEAKER_01]: So, my thing, so how did you come out with the idea of playing?

17:16.020 --> 17:18.561
[SPEAKER_00]: But, you know, that was in the script.

17:18.681 --> 17:23.063
[SPEAKER_00]: I, you know, when I came on, they were already, they were rushing to get the sequel made.

17:25.611 --> 17:31.054
[SPEAKER_00]: and they had told me about Ernie and that he had been a foot and that they wanted to up his character.

17:31.494 --> 17:40.099
[SPEAKER_00]: And so the writer Todd Langron wrote for Ernie and came up with the coal character of Kino and all that stuff.

17:40.159 --> 17:44.782
[SPEAKER_00]: And so it was in the writing that that all got, you know, developed.

17:45.157 --> 18:00.922
[SPEAKER_01]: Okay, that's something I was just about interested in and so there's there's one more thing I want to ask about the community in the turtles and then I want to ask you how about what it was like working with Richard prior because that's something because Richard is probably one of my favorite comedians.

18:01.222 --> 18:04.543
[SPEAKER_01]: But I want to talk about more about the turtles a little bit and then we'll get into that.

18:04.804 --> 18:14.628
[SPEAKER_01]: But okay, so I always love asking, was there a moment on set where something didn't go going to plan, but it actually ended up making the scene better?

18:15.188 --> 18:19.049
[SPEAKER_00]: That is more to do with all the things that happened with the Richard priori.

18:19.089 --> 18:19.810
[SPEAKER_00]: It always was

18:20.510 --> 18:24.272
[SPEAKER_00]: You know, he always surprised us with something better than we at all planned.

18:24.712 --> 18:27.934
[SPEAKER_00]: Um, in the turtles, there was so much necessary planning.

18:28.534 --> 18:30.555
[SPEAKER_00]: It was hard to do improvising.

18:30.736 --> 18:35.838
[SPEAKER_00]: I will tell you the best surprise, funniest accident.

18:36.139 --> 18:38.000
[SPEAKER_01]: Okay, wasn't in the movie.

18:38.240 --> 18:39.400
[SPEAKER_00]: Okay, I got to hear about this.

18:39.540 --> 18:43.463
[SPEAKER_00]: Okay, we, in fact, again, it was an idea I had and they went with it.

18:44.123 --> 18:45.884
[SPEAKER_00]: We were trying to figure out how to,

18:46.443 --> 18:51.526
[SPEAKER_00]: differentiate this film and give it more exposure to a bigger audience.

18:52.006 --> 19:02.392
[SPEAKER_00]: And I said, you know, we're coming out literally, I think, a week after or the night, we shot this, the film was being released, right?

19:02.872 --> 19:04.553
[SPEAKER_00]: The same week as Oscar night.

19:05.026 --> 19:05.387
[SPEAKER_01]: Okay.

19:05.827 --> 19:18.766
[SPEAKER_00]: And it used to be after the Oscars, Barbara Walters, may she rest in peace, used to do interviews with the actors, who need one, consider to be to win, and consider.

19:19.824 --> 19:29.746
[SPEAKER_00]: So now we're back in December because we had to do this months before we contacted the Barbara Walter show and said, would she like to do five minutes interviewing the turtles?

19:30.106 --> 19:31.486
[SPEAKER_01]: Oh wow, that's interesting.

19:31.586 --> 19:31.986
[SPEAKER_01]: Okay.

19:32.446 --> 19:33.106
[SPEAKER_01]: It's somewhere.

19:33.566 --> 19:34.227
[SPEAKER_00]: It's somewhere.

19:34.347 --> 19:35.927
[SPEAKER_00]: I don't know where this footage is.

19:35.987 --> 19:37.127
[SPEAKER_00]: It might be on YouTube.

19:37.187 --> 19:38.047
[SPEAKER_00]: I'd have to check it out.

19:38.727 --> 19:41.528
[SPEAKER_00]: I think I have it on a DVD somewhere.

19:41.908 --> 19:43.368
[SPEAKER_00]: So she thought it was a great idea.

19:43.408 --> 19:46.369
[SPEAKER_00]: So she flies down to North Carolina where we're shooting with a

19:48.869 --> 19:58.192
[SPEAKER_00]: And we had to now give her questions and have the actors mind the answers and the puppeteers answer the questions.

19:58.212 --> 19:59.732
[SPEAKER_00]: I mean, it was just like shooting the film.

19:59.752 --> 20:02.793
[SPEAKER_00]: It took us it was a whole day for two minute interview.

20:02.813 --> 20:10.636
[SPEAKER_00]: And so the actor who's in the Donatello suit has the question about, how do you feel about, do you miss your parents?

20:10.756 --> 20:12.536
[SPEAKER_00]: I think Barbara Wolters asked him.

20:14.885 --> 20:17.166
[SPEAKER_00]: He was like, he got a little upset like this.

20:17.326 --> 20:23.769
[SPEAKER_00]: And something went wrong with, oh, he was put, they were gonna have some real tears.

20:24.569 --> 20:26.150
[SPEAKER_00]: Come out of his eyes.

20:26.730 --> 20:32.612
[SPEAKER_00]: They planted it with a cable and had a water off set.

20:33.693 --> 20:37.114
[SPEAKER_00]: And it got, it went out of control.

20:37.794 --> 20:40.195
[SPEAKER_00]: And it started to gush, water out of the thing.

20:40.415 --> 20:41.736
[SPEAKER_00]: And he just started to go crying.

20:44.622 --> 20:47.564
[SPEAKER_00]: destroyed us and I think that's in the clip.

20:48.445 --> 21:00.654
[SPEAKER_01]: That's amazing though because that's whole improv of publicization of okay so something goes awry so I need to go on ahead and try to make the test of it without anyone even knowing that's actually happening.

21:00.674 --> 21:02.255
[SPEAKER_00]: It was one of the great moments.

21:03.196 --> 21:12.820
[SPEAKER_01]: So yeah, I definitely love that, um, when you look back on secret of the use, what do you think it get, uh, it gets right that maybe doesn't get enough credit.

21:13.680 --> 21:24.065
[SPEAKER_00]: Um, you know, I think the simplest way to put it because I have to tell you, I had no idea it was going to have this kind of following.

21:24.670 --> 21:34.499
[SPEAKER_00]: I had no idea that the audience would continue to get replenished with new young people and grow and grow and grow.

21:35.179 --> 21:41.985
[SPEAKER_00]: It is literally the film that I'm asked most about of my 40 years of interest.

21:42.025 --> 21:42.205
[SPEAKER_01]: Right.

21:42.225 --> 21:48.090
[SPEAKER_01]: That's just going to show you how many generations of kids you have to up me.

21:48.231 --> 21:51.473
[SPEAKER_01]: I was born in 1985, but I was also considered like a 90s baby.

21:52.692 --> 21:58.815
[SPEAKER_01]: And then you have generation upon generation just showing your film, right, and this is great.

21:59.736 --> 22:10.161
[SPEAKER_00]: So what's really happened is that the movie has not been revisited by critics and trying to understand what the film is.

22:10.862 --> 22:12.843
[SPEAKER_00]: But it's being revisited by the audiences.

22:13.023 --> 22:18.986
[SPEAKER_00]: I mean, do you know that when they did the re-release with a 4K, that they put it in theaters for two weeks?

22:22.625 --> 22:42.178
[SPEAKER_00]: eight or nine of the box office that week it made a couple of million dollars in a hundred theaters and I'm going I thought it would just be promotion that's really serious box office they were beating out a lot of other movies I remember that was 40 years 30 years old right because I actually 35 37 years old

22:44.516 --> 22:47.377
[SPEAKER_01]: You see, I actually bought myself a ticket as well.

22:47.417 --> 22:53.359
[SPEAKER_01]: So I was one of those people that went to the theater at the end of the day and after that, I pre-ordered my box set or all the movies.

22:54.300 --> 22:59.822
[SPEAKER_01]: And it just was amazing to me to be able to watch it nostalgicly on the big screen again.

23:01.456 --> 23:06.444
[SPEAKER_01]: Even though I'm 41, I felt like I was back being like 11 all over again.

23:06.464 --> 23:14.216
[SPEAKER_00]: Well, yeah, and I think that's where the real feeling of

23:16.419 --> 23:20.221
[SPEAKER_00]: of being acknowledged, lives with people like yourself.

23:20.281 --> 23:27.145
[SPEAKER_00]: I mean, your review is more important than any critic who wants to give me an analysis of that movie.

23:27.565 --> 23:35.830
[SPEAKER_00]: Because I want to say, you talked to John DeGregrio or another 10,000 for your roles to find out what they think.

23:35.890 --> 23:43.535
[SPEAKER_00]: Because I go on a set to direct, and I'm doing loan order, SVU, or Chicago Med, and then one actor comes up to me,

23:46.842 --> 23:54.066
[SPEAKER_00]: Is it true you directed an injured turtle secret of the use, you know, when I went, yeah, I said, oh my god, oh my god, it's like, you know, I can't believe it.

23:54.386 --> 23:58.429
[SPEAKER_00]: You're, you know, so the film follows me and I'm very proud of it.

23:59.109 --> 24:07.554
[SPEAKER_01]: I'm happy that it does because it's very dirty deserving so because seriously, I love this movie since I was a kid, I still grow up on it.

24:08.023 --> 24:22.370
[SPEAKER_01]: In fact, I'm actually going to be reviewing this film probably sometime next month as well because I wanted to do like a special anniversary thing for it and have someone else that's to get out over it.

24:22.450 --> 24:29.854
[SPEAKER_00]: You know, I think I think the one thing I will say is and you can tell just you know in our conversation.

24:38.016 --> 24:50.887
[SPEAKER_00]: I gave it my all, I gave it a hundred percent, I was 41 at the time, and I channeled like you did when you went back to see it, my 10-year-old, my 8-year-old.

24:51.497 --> 24:53.439
[SPEAKER_00]: You know, it had to, it had to tickle me.

24:53.679 --> 24:58.243
[SPEAKER_00]: It had to make me feel, you know, that I was, I was doing it for them.

24:59.124 --> 25:04.709
[SPEAKER_01]: And I, as it goes, and very, very clearly shows that you took the care and love for it.

25:05.509 --> 25:10.494
[SPEAKER_01]: And I think if it wasn't for that, I don't think, I don't think it would actually get the gravitas of the test now.

25:11.074 --> 25:19.137
[SPEAKER_00]: And I just chose your care and love for this and respect for the material and the source material and to be able to give the kids like myself back then.

25:20.257 --> 25:30.781
[SPEAKER_01]: For it, and I just want to say this, it means so much to me to hear you say, like viewers reviewers like myself to be able to review something versus a credit, because we're the ones who understand it.

25:30.821 --> 25:32.202
[SPEAKER_01]: We're the ones who can wrap with this.

25:32.842 --> 25:35.103
[SPEAKER_01]: I'm just going to neighbor that's going to give them

25:37.367 --> 25:41.109
[SPEAKER_00]: I mean, in this particular case, you are the critics, right?

25:41.349 --> 25:52.935
[SPEAKER_00]: You are the old, and if these critics, that these millions of children who are now young adults and adults are having these feelings, that's the most important thing to me, you know?

25:53.610 --> 25:55.191
[SPEAKER_01]: So let's take away a little bit.

25:55.311 --> 25:57.872
[SPEAKER_01]: I just want to ask you, like, Rick, I'm a Richard prior.

25:58.152 --> 25:59.773
[SPEAKER_01]: What was that like?

25:59.953 --> 26:07.876
[SPEAKER_00]: That was also another incredible gift that I got, which is he was very serious about his work.

26:08.336 --> 26:12.118
[SPEAKER_00]: It was going to be a serious film, anyone who's playing a dramatic role.

26:12.678 --> 26:19.581
[SPEAKER_00]: But he always saw the extra little funny thing that we never saw in a scene.

26:20.835 --> 26:31.421
[SPEAKER_00]: Um, you know, where we're, you know, there's one very big scene in a hotel room where he comes back from the Vietnam War and hasn't seen his wife in five years.

26:32.042 --> 26:36.704
[SPEAKER_00]: And he's so excited and she piscens to tell him that she lost the business.

26:36.944 --> 26:38.846
[SPEAKER_00]: Uh, she's falling love with somebody else.

26:39.926 --> 26:42.648
[SPEAKER_00]: Uh, her mother has had a stroke and it goes on like that.

26:43.808 --> 26:49.092
[SPEAKER_00]: And the scene wasn't quite working when we were rehearsing and shooting until finally, all

26:50.635 --> 26:53.661
[SPEAKER_00]: When we started to roll, and she started to tell him,

26:54.590 --> 26:57.391
[SPEAKER_00]: He started to cry in the scene.

26:57.931 --> 27:04.473
[SPEAKER_00]: And then he started to laugh every time she would say, oh, and another thing, and he could break up, and he couldn't even talk.

27:04.493 --> 27:09.775
[SPEAKER_00]: And he was like, stunned, and he was crying, and laughing, I had to leave the set.

27:10.515 --> 27:12.836
[SPEAKER_00]: I would call action and walk off the set.

27:13.236 --> 27:17.537
[SPEAKER_00]: And later, I remember going up to him saying, listen, I'm really, I got to apologize.

27:17.617 --> 27:20.658
[SPEAKER_00]: I've never walked, he said, no, no, it's fine, it's fine.

27:24.063 --> 27:26.744
[SPEAKER_00]: I always treat directing comedy a very serious business.

27:26.764 --> 27:28.624
[SPEAKER_00]: So I'm not the one who should be laughing.

27:29.324 --> 27:33.185
[SPEAKER_00]: But he got me and was the rise.

27:33.906 --> 27:42.448
[SPEAKER_00]: And that's really what I've seen, which is always looking for the opportunity to have something surprising, not go wrong.

27:43.125 --> 28:10.373
[SPEAKER_01]: Right, that's something I like stories like that versus like what could go wrong on a set or something I love here and behind the scenes stuff of an actor making someone laugh or memorable moments, you know, I mean, because this pleasant surprise that you got, but Richard was I mean, he robbs these two guys and takes their money at gunpoint in a bathroom, right?

28:11.557 --> 28:14.039
[SPEAKER_00]: and he's got them behind the thing and he takes their money.

28:14.720 --> 28:19.925
[SPEAKER_00]: And just as he's leaving, Richard added a line in his close-up.

28:20.285 --> 28:22.027
[SPEAKER_00]: And he goes, woof!

28:23.315 --> 28:26.537
[SPEAKER_00]: Whoa, somebody must have gotten in here and died.

28:26.657 --> 28:30.620
[SPEAKER_00]: What you like, and it was like, and you know, it was tack.

28:30.880 --> 28:34.603
[SPEAKER_00]: I mean, he could smell them in a bathroom.

28:34.983 --> 28:39.427
[SPEAKER_00]: It wasn't in the script at all, but it's in the movie and we just, we just cry.

28:39.447 --> 28:48.053
[SPEAKER_01]: I think it works though because it gives the audience a chance to actually be able to smell those kind of smells that Richard did and get that extra

28:48.887 --> 28:54.429
[SPEAKER_01]: A layer to it because without that, you don't have that really nasty smell or anything.

28:54.449 --> 28:55.029
[SPEAKER_00]: Right, right.

28:55.089 --> 29:00.371
[SPEAKER_00]: I mean, it was a perfect the the other great one was in the opening.

29:00.391 --> 29:01.131
[SPEAKER_00]: He's arrested.

29:01.151 --> 29:03.892
[SPEAKER_00]: He's captured and Vietnam and

29:05.887 --> 29:11.891
[SPEAKER_00]: And he's got his hands up and he's been also in the woods trying to, as he said, take a dump.

29:12.351 --> 29:17.395
[SPEAKER_00]: And he says these guys who don't understand English, I'm pulling up my pants.

29:18.416 --> 29:23.820
[SPEAKER_00]: I'm reaching for my pants like that and we rolled one shot and we did all the rehearsing.

29:23.980 --> 29:33.447
[SPEAKER_00]: And then we had to lay in all the squibs so that when they fire, you know, it's real, so that he feels like they shot around him.

29:34.170 --> 29:36.735
[SPEAKER_00]: but we never rehearsed that, so we waited to shoot it.

29:37.216 --> 29:37.677
[SPEAKER_00]: So now

29:38.628 --> 29:53.153
[SPEAKER_00]: He's doing a retreat for my pants and we cue the guy here to do the gun thing and it goes bang bang bang all around him and he goes He totally loses and goes fuck it fuck it fuck the pants And he's walking off and when he left camera, he goes fuck it fucking I'm done.

29:53.193 --> 29:54.073
[SPEAKER_00]: I'm not doing this again.

29:54.193 --> 29:56.834
[SPEAKER_00]: I love it You know, he was totally in character.

29:56.994 --> 30:02.076
[SPEAKER_00]: He didn't lose it because that's what anybody would do, but first it, you know, it was great.

30:02.636 --> 30:03.477
[SPEAKER_01]: I love that though.

30:03.497 --> 30:03.637
[SPEAKER_01]: Just

30:05.983 --> 30:10.205
[SPEAKER_01]: I, you know what, this is probably one of my favorite Richard prior stories to be honest with you.

30:10.225 --> 30:10.485
[SPEAKER_01]: Yep.

30:10.565 --> 30:10.825
[SPEAKER_00]: Yep.

30:11.086 --> 30:12.946
[SPEAKER_00]: I mean, brilliant.

30:13.006 --> 30:15.448
[SPEAKER_01]: But one more thing, I just want to say this.

30:16.208 --> 30:24.211
[SPEAKER_01]: One of my favorite scenes is, and Tina of your turtles is the part where Ralph is actually kidnapped and goes a little too round.

30:24.532 --> 30:24.812
[SPEAKER_00]: Yeah.

30:25.212 --> 30:27.273
[SPEAKER_01]: And I say that all the time.

30:28.190 --> 30:31.612
[SPEAKER_01]: When someone's doing that's like you're a little bit too rough years.

30:31.632 --> 30:33.273
[SPEAKER_01]: What was that I said, don't worry about it.

30:34.233 --> 30:37.415
[SPEAKER_01]: And like I just it just comes out of nowhere sometimes a little too rough.

30:37.475 --> 30:40.597
[SPEAKER_00]: I don't get a lead up for the it it it's a little too quiet.

30:40.637 --> 30:41.437
[SPEAKER_00]: Yeah, it's a little too.

30:41.477 --> 30:42.758
[SPEAKER_00]: This is right.

30:42.798 --> 30:43.178
[SPEAKER_00]: Yeah, right.

30:43.938 --> 30:45.479
[SPEAKER_01]: Because there is like what do you give a little quiet.

30:45.499 --> 30:46.780
[SPEAKER_00]: I'm like, well, it's a little too rough.

30:47.396 --> 30:51.679
[SPEAKER_01]: And like what that was that I was like, I don't know, I just came out of me.

30:51.719 --> 30:52.359
[SPEAKER_01]: I can't help it out.

30:52.399 --> 30:54.220
[SPEAKER_01]: My mind went over the teenage minute of trouble.

30:54.240 --> 30:54.900
[SPEAKER_01]: So I can't help it.

30:56.461 --> 30:58.282
[SPEAKER_01]: But Michael, I just want to say this.

30:58.883 --> 31:05.626
[SPEAKER_01]: Thank you so much for coming on here, taking the time out of your day, talking about teenage men to Charles and also talking my Richard prior.

31:05.686 --> 31:08.068
[SPEAKER_01]: He's one of my favorite comedians and also actors.

31:08.688 --> 31:16.692
[SPEAKER_01]: And I also want to mention this too, because I know that you have something coming up, and I want you to be directing, I'm directing a play in about a year in Chicago.

31:16.712 --> 31:19.393
[SPEAKER_00]: It's a very serious play, completely different.

31:19.453 --> 31:30.278
[SPEAKER_00]: I've done dramas like I, you know, I've done come back a little sheba, which is serious drama on Broadway, and now I'm doing a play called Night Mother, which is a revival of a wonderful play.

31:30.860 --> 31:49.374
[SPEAKER_00]: And so I, and, and then my television stuff got so serious, you know, I was doing the long orders and the SVUs and the Chicago meds, but occasionally I'd get a chance to do some comedy like, you know, Boston legal with James Spader and William Shattner.

31:49.414 --> 31:50.816
[SPEAKER_00]: That was a great episode.

31:51.196 --> 31:52.016
[SPEAKER_00]: I had fun doing.

31:52.457 --> 31:57.501
[SPEAKER_00]: So I've always wanted, I want to get back to my comedy, you know, right.

31:58.205 --> 32:03.468
[SPEAKER_01]: And I think that's actually a perfect way to do it through, through Broadway and be able to just let everything out.

32:03.608 --> 32:05.289
[SPEAKER_01]: Be like Michael Presman unleashed.

32:06.570 --> 32:08.150
[SPEAKER_00]: Thank you very well.

32:08.671 --> 32:09.431
[SPEAKER_00]: In a pleasure.

32:09.931 --> 32:10.912
[SPEAKER_01]: It's a pleasure Michael.

32:11.112 --> 32:15.955
[SPEAKER_00]: And I hope you have a good rest of your day and thank you so much for coming on here.

32:16.255 --> 32:17.355
[SPEAKER_00]: You're more than welcome.

32:17.376 --> 32:18.376
[SPEAKER_00]: And of course I'll come back.

32:19.036 --> 32:19.357
[SPEAKER_01]: All right.

32:19.517 --> 32:20.377
[SPEAKER_01]: I have to have you back.

32:20.417 --> 32:20.617
[SPEAKER_01]: I have

32:22.026 --> 32:32.932
[SPEAKER_00]: Yeah, well, you know, the other one, I don't see when you're way too young, but you know, the other film that's getting really revisited is the bad news bear sequel that I did.

32:32.952 --> 32:33.132
[SPEAKER_01]: Right.

32:33.192 --> 32:43.178
[SPEAKER_01]: I remember you doing the sequel to that because I watched the first one when I took a mouth out and then if you watched the second one, it's totally different just like the TV has been internalized.

32:43.418 --> 32:47.740
[SPEAKER_00]: And you have to go find Quentin Tarantino's podcast on that

32:50.942 --> 32:52.203
[SPEAKER_00]: He gave that movie.

32:52.283 --> 32:55.124
[SPEAKER_00]: He said it's one of his favorite sequels of the 1970s.

32:55.184 --> 33:06.448
[SPEAKER_00]: And you have to listen to the podcast to give you a whole new insight that he'd caught, that we intended that was never reviewed having to do with the father and son relationship.

33:07.257 --> 33:13.600
[SPEAKER_01]: Okay, I'm definitely going to have to do that and then have you back on here to do a bad news beers podcast with me right and then we can throw in Dr.

33:13.660 --> 33:13.901
[SPEAKER_00]: Troy.

33:13.921 --> 33:14.501
[SPEAKER_00]: Well, we're ready.

33:14.881 --> 33:17.082
[SPEAKER_01]: Okay sounds great man sounds fantastic.

33:17.322 --> 33:17.702
[SPEAKER_01]: All right.

33:18.023 --> 33:18.523
[SPEAKER_01]: Take care now.

33:18.983 --> 33:19.483
[SPEAKER_01]: All right.

33:19.643 --> 33:19.923
[SPEAKER_01]: Wow.

33:20.084 --> 33:21.284
[SPEAKER_01]: What a great interview.

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[SPEAKER_01]: This was a Michael on the show.

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[SPEAKER_01]: Michael press men, everyone.

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[SPEAKER_01]: So I'm going to go ahead.

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[SPEAKER_01]: Close us out.

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[SPEAKER_01]: I hope everyone has a great day.

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[SPEAKER_01]: and don't forget to check out more interviews like this and smash that like button and also to give us a five star review where you guys get your podcasts from and always until next time guys.

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[SPEAKER_00]: Bye bye.