0:03

Hi, I'm Gilbert

0:05

Gottfried with my

0:07

co-host, Frank Santopadre,

0:09

and this is

0:12

Gilbert Gottfried's amazing

0:30

colossal podcast. Today,

0:33

a legendary singer and

0:35

actor who's worked with

0:38

Bob Hope, Bing Crosby,

0:41

Groucho Marx, Jackie Gleason,

0:43

John Wayne, Lucille Ball,

0:46

and Jack Benny, just

0:49

the name of you,

0:51

my fellow teen idol,

0:54

Frankie Avalon. Zero,

0:59

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3:19

Our guest today went from

3:21

trumpet player to a teen

3:23

idol selling millions of records

3:25

to sharing the big screen

3:28

with Croucho Marx, Bob Hope

3:30

and John Wayne. Not

3:33

to mention Boris Karloff,

3:35

Ernie Kofax and Buster

3:37

Keaton. Please welcome to

3:40

the show the original

3:42

teen idol, Frankie

3:45

Avalon. Thank

3:47

you. Why are you yelling? But

3:53

a good yell though. Yes. Well,

3:55

thank you very much. It's really nice to be

3:57

with you and Frank and kind of talk about

3:59

the things that have been part of my life

4:01

I guess. Now we have something in common both

4:04

being teen idols. But

4:07

how did it happen for you? Actually

4:09

it happened, I was

4:11

with a band, I was a trumpet player. I started as

4:13

a trumpet player. And I was with a

4:16

band called Rocco and His Saints. And

4:18

I played trumpet and we

4:20

used to play this one place in Jersey

4:22

right outside of Philadelphia called Murray's Inn. And

4:26

people kind of would come up to the stage and

4:28

say, Frankie can you play this? Say, Frankie can you

4:30

play that? And Frankie can you sing this? Frankie can

4:32

you sing that? And finally Rocco who was the leader

4:34

of the band said to me, you know you got

4:36

to start singing. I said, hey you paid me as

4:38

a trumpet player. That's what I do. He said, I'll

4:40

give you an extra five bucks. I

4:42

said, I'll do it. And that's how I really started.

4:45

And of course a new record company

4:47

came along, Chancellor Records, and they came

4:49

in to see one of our shows

4:51

there. We used to do five sets

4:53

a night. We went down

4:55

to Atlantic City and we started playing these little

4:58

clubs. They came in and they signed our band.

5:00

And we recorded. The

5:02

first record we did was called Cupid's

5:05

Shot and Arrow, which I did the vocal on. And

5:07

the other side was called Jiving with the Saints. And

5:12

it came out and nothing really happened with it

5:14

except that they put me out there. They bought me a $12 suit

5:17

and they put me out there. And I started

5:19

to go around the country doing these record hops and

5:22

things. And the kids started to say, how can we

5:24

write to you? What's your fan club? How

5:26

about this? And all of a

5:28

sudden my manager at the time, Bob Marcucci,

5:30

said, I think you got something these kids

5:32

like. And that started it. And

5:35

how did the big break come

5:37

with Jackie Gleason? That

5:39

happened. I was about

5:42

11 years old. I went to see a movie

5:44

called Young Man with a Horn. And I just

5:46

fell in love with the sound of the trumpet. And

5:48

I guess I related to the young

5:50

boy who really grew up to be

5:52

the best trumpet player in the world.

5:55

And I related to that. And I came out of the movie. I

5:58

was there all day. You

6:00

know, my mom used to pack a lunch. Yeah,

6:02

Kirk Douglas and pack a lunch and

6:04

I would stay there and I watched the movie all day. And

6:06

I came home and I said to my dad, I said, Dad,

6:09

can you buy me a trumpet? He said, you want to

6:12

play trumpet? Because he loved music. My father, I said, Yeah.

6:14

And he went to a pawn shop. He got me a horn and I

6:17

I took the horn into my bedroom and I didn't

6:19

come out until I played my first song. That

6:22

started it. And but

6:25

the way you met Gleason,

6:28

Jackie. Oh, yeah. Well, what happened was

6:30

Al Martino, who is

6:33

from the neighborhood of South Philadelphia, was

6:35

a big star at this time. Johnny

6:37

Fontaine in the Godfather. Exactly. Yes. He

6:41

had this one song called Here in My Heart,

6:43

which was number one around the world. And

6:46

in the neighborhood, they were giving him a

6:48

party for his success, you know, and there

6:50

was crowds all around, you know, these row

6:52

homes and little streets in South Philadelphia there.

6:54

And I took my horn and I wiggled

6:57

my way through and I knocked on the door. A

6:59

guy opened the door and I said, could

7:01

I play my trumpet for Al Martino? They said, Who

7:03

are you? I said, My name is Frank Avaloni. I

7:05

live around the corner. He said, Come on in. And

7:08

the party was really happening. I took out the horn.

7:10

I started to play and it's like an old movie,

7:12

you know, everybody kind of stopped and

7:14

I played very well for a little

7:16

kid. And Al Martino

7:18

said to the guys who his

7:20

house he was at said, Who was

7:23

this kid? He said, His name is Avaloni. He lives

7:25

around the Navy. So let's call his

7:27

mother and father. See if we could take him to New

7:29

York. I think this kid can play. So

7:31

they did. My mom and dad agreed and

7:33

they took me into New York and

7:36

I went to a big agency at

7:38

the time called GAC General Artist

7:40

Corporation and Jack Sobel was the

7:42

agent and I took out the horn and I played

7:45

for him. He said, I got an idea. This kid

7:47

plays good. We handle Jackie Gleason.

7:49

He's got a penthouse at the Sheridan

7:51

Hotel. We'll go and take him

7:53

and he'll play for Jackie. Loves the trumpet Jackie.

7:55

So I go in there and there the writers

7:58

are there and this and Gleason was. there.

8:00

Well, it was a penthouse. I didn't know where he was,

8:02

but I took out my horn and I started to play

8:04

in the corner of my eye. I see Gleason come out

8:06

of the room. I

8:09

finished the song and he yells

8:11

down, write a show. I want him one or two

8:13

weeks. And that was it. So

8:15

why was Gleason like to work with? He

8:18

was phenomenal. First of all,

8:20

his mind, he

8:23

knew everybody's lines and everything. He

8:26

was a genius, really. And

8:28

he was a wonderful guy, very quiet, really a

8:30

quiet kind of a guy. I worked

8:35

with him not only that time as a young boy

8:37

playing trumpet, but I also did his

8:39

show later on in

8:42

his life, in my life, out of

8:44

Florida. Oh, the Miami Beach show, the Gleason

8:46

show. The Miami Beach show, yeah. And of course I would,

8:49

and we had just finished doing a picture together and I

8:51

spent a lot of time with him. I had a picture

8:54

was called Skidoo. And I'll tell you. Gilbert

8:57

and I are well familiar with it. Yes, yes. It's

9:00

come up before on the podcast. Is that right? Oh, sure.

9:03

Frank and I are big fans. Okay.

9:05

All right. Well, now, Otto Preminger directed it. And,

9:07

you know, I had heard a lot of stories

9:09

about Otto Preminger as a director being really tough,

9:11

you know. And I

9:14

didn't know exactly what to expect. But the

9:17

first day of shooting for me, I had

9:19

no dialogue. And it was where

9:21

I was supposed to drive this car and Arnold Stang was

9:23

in the scene. And,

9:26

you know, as I hit my mark

9:28

and all this, all of a sudden

9:30

I hear Preminger that everybody talked about

9:32

saying, what are you doing? You're

9:35

not an actor to Arnold Stang, to

9:38

this, to John Philip Law and all

9:40

this other stuff. So now

9:42

comes the second, third day of shooting

9:44

and we're up in San Francisco. And

9:46

I've got the scene with Cesar Romero,

9:48

Jackie Gleason, Carol Channing. And

9:50

I've got a couple of line and Gleason

9:53

says to me something and he

9:55

smacks me across the faces and

9:59

Preminger said, go. over and practice, you

10:01

know, the slap. So I

10:03

go with Gleason and Jackie

10:05

says, Pally, he says, Faudeville,

10:09

just when I touch your

10:11

face just go. Okay,

10:15

Jackie, that's fine. Now he comes to

10:17

the scene and Prem just says, Roam

10:19

and action. All of a sudden he

10:21

smacked me across the face. Are

10:23

you kidding? Gleason it. Yeah. Wow. My

10:26

ears were ringing. Finally,

10:29

after about four or five takes, you know,

10:31

they had to stop makeup and because I

10:33

had fingerprints all over my face, you know,

10:35

Jackie vaudeville. I said, Jackie, yo, yeah. Now

10:38

that we finished the picture and

10:41

I'm doing Jackie's show down in Miami and

10:44

I go into this dressing room. He says, have you seen the

10:46

picture? I said, yeah, he hadn't seen it yet. He

10:48

said, what do you think? I said, Jackie, it's embarrassing. He

10:51

said, really? He said,

10:53

oh my God, I listened to Premager. I

10:56

went with him. Everything he wanted me to

10:58

do. I said, he said, will I be

11:00

embarrassed to go to the opening? The premiere.

11:02

I said, yeah, I really was

11:04

that honest. Yeah. Because the picture I

11:07

felt horrible. It's one of the great

11:09

bad movies of all time. And we

11:11

got a tremendous cult following. Yeah, I

11:13

know. We had Leon Shamroy, you know,

11:15

was the lighting director. We did all

11:18

Marilyn Monroe pitch. I mean, we had

11:20

the best the cast, as you know,

11:22

sure. Everybody's in it. Every park and

11:24

yeah, Caesar, Romero, Frank, abortion. And he

11:26

just, let's face it, he had no

11:28

sense of humor. Yeah. Well,

11:31

he wasn't known for directing. No, no.

11:33

And I should throw in the John

11:35

Philip law. Quick, God, get up information

11:37

that for people

11:39

who don't remember John Philip

11:42

law, very, very handsome, leading

11:44

man. And he

11:46

was offered two movies at the

11:49

same time. One was

11:51

good do and the

11:53

other was Midnight Cowboy. Wow.

11:55

Yeah. What a choice. Yeah.

11:57

And I guess he fell.

12:00

hey well listen jaggy gleson

12:02

and grotto march and how

12:04

about auto premature guys credits

12:06

were incredible the

12:08

funny thing is that he wouldn't even see me

12:11

for the role you played a mobster son you

12:13

played right and right but he wouldn't see me

12:15

and my agent uh... who

12:17

is still my agent every film i've

12:19

ever done he'd be made the deal

12:22

for me this jack jalardi and

12:24

he said i got an idea answer what do you

12:26

mean he said what he doesn't want to see you

12:28

because he says i want this beach boy in my

12:30

picture he said i'm gonna say

12:32

it's frank avallone no so

12:36

i said jackie can't do that he said listen to

12:38

me we

12:40

go into paramount studios i go to

12:42

big office big desk in auto premature

12:44

sitting behind the the desk there and

12:47

i walk in and gleson's and uh... premature

12:49

says to me but he'll bring me this

12:51

beach boy so i sat

12:53

down and in no

12:56

longer than ten minutes he said oh okay you've

12:58

got the part of talk to region and that

13:00

was it now

13:02

you work there one of the many times

13:05

you worked with him because just last night

13:07

i was watching a clip of

13:10

you on you bet your life yeah singing i

13:12

can't give you anything yeah with with ground show

13:14

you know what what tell us about groucher mark

13:16

well he was you know i i as later

13:18

on in years because i did a lot of

13:21

the game shows at those times in a lot

13:23

of the you know guys would do these game

13:25

shows in graduate a lot of them to you

13:27

know not only you bet your life of you

13:30

know guest appearances and i always

13:32

kind of said you know he's a dirty old man and

13:35

and it was out there you know

13:38

look at their legs with this you know and

13:40

uh... it he always had remarks of course

13:42

you know and all crummy dirty mhm what

13:49

you did you bet your life i mean and he

13:51

comes back in your life all these years later yeah

13:53

and in skidoo that had to be that had to

13:55

be strange absolutely i mean all through the years the

13:57

guys that i've worked with uh... one

13:59

time or another it's a it amazes

14:01

me and and when I think back

14:03

and all those things that I've done I say wow

14:05

I was with the best I was with guys that

14:08

and you know I really

14:10

became a student of The

14:13

art of trying to act and

14:15

watch these guys and how they Work

14:17

the camera and all this other stuff I'd sit on

14:19

my chair there and just watch all these guys and

14:22

how they did it because they you know They were

14:24

they were pros to all 100%

14:27

pro and before we turn the mics

14:29

on I

14:31

what I remember I was basically

14:33

saying got you know shut up

14:35

Frankie Save

14:37

all his for the show

14:40

and tell us about Sinatra Frank

14:45

Sinatra my Absolute

14:47

idol and of course everybody else's

14:49

too, but he was he was

14:51

incredible He you know I got to hang with

14:53

him which was really kind of neat and stayed

14:55

his house, you know and Amazing

14:58

about him is

15:00

that if when I would stay at his house, you know he

15:02

had these casitas they were called

15:04

and The little houses

15:07

and he would call one would be my way

15:09

the other was this the Palm Springs place Yeah,

15:11

Palm Springs. I would stay there and

15:13

you had access to 24-hour Whatever

15:15

you wanted. I don't care if you wanted a car or

15:18

this Anything that you wanted

15:20

you got you know and you wouldn't see Sinatra

15:23

Frank would only come out about 530 at

15:25

night and we'd have dinner go someplace and

15:27

have dinner But all day you'd stay by

15:29

his pool or go play golf or whatever

15:31

it is And you know, he

15:33

he just wouldn't see you until he wanted to

15:35

see you and and you know many

15:37

times I Stayed up with him

15:39

where he was drinking and you had to stay and

15:41

you try to sneak out where you go on You

15:44

know and you listen to his stories and all this

15:46

other stuff. He was quite a well, but an artist

15:48

I mean he was just brilliant. You know you you

15:50

were telling how he used to learn his song Yeah,

15:54

Jimmy Darren James Darren. We're from the

15:56

same neighborhood in South Philadelphia and we're

15:58

very good friends and he's really

16:00

close to the sonatra family and

16:03

i said to him jimmy what this is not

16:05

your how did you learn songs you know i

16:07

said because you know we're both musicians so we

16:09

could read music in he

16:11

said what they would play in songs and he

16:13

was i want to do that one and then

16:16

they would give him the lyrics and uh... he

16:18

would take the lyrics alone for two weeks and

16:20

just just keep the read it like a book

16:23

and after the two weeks of really learning

16:25

what that song was all about and and

16:27

uh... the concept of the writer and

16:30

the lyrics then he would get involved but

16:32

with getting a piano player and starting to

16:34

learn uh... the music and and

16:38

um... uh...

16:42

i will i remember a story

16:44

that hearing boris carloff frank

16:48

sonatra he said you sing with your

16:51

voice uh... you have

16:53

to learn to act with your voice and

16:55

boris carloff used to give frank sonatra acting

16:58

list really yeah i'd i'd never get his

17:00

daughter told us that well that's a lot

17:02

of carlaf you know i worked with carloff

17:04

to that was a little party when one

17:06

of each move one of the beach that's

17:08

yeah uh... he was in a couple of

17:11

them i think i was the i don't think we're all going together

17:13

for you know that they act all

17:16

the same did did you uh... get to

17:18

know carloff at all no no uh... yeah

17:20

i mean i i talk with them a

17:22

bit but you know we were so busy

17:24

we did those pictures in fifteen days so

17:26

i mean i was learning it i was

17:28

playing dual roles this that number and

17:30

um... but you know i just kind of cop

17:33

uh... conversation small

17:36

conversation let's go back to south

17:38

philly for a minute we'll get to the we'll get to the beach

17:40

movies not sure

17:42

where that sounds that we came from i think that's

17:44

carloff it might be so

17:46

many people came out of south philly we

17:49

have a specifically singers eddie fisher mario lonza

17:51

bobby ridel who we were talking about right

17:53

return the mike son chubby checker right what

17:55

do you attribute that to bob but but

17:57

it correct what he recollectable martino now you

18:00

know i don't know uh... i

18:03

i think you know when you're from uh...

18:05

neighborhood you know uh... all

18:07

different kinds of ethnic

18:10

uh... groups you know and then music

18:12

in whether be jewish italian uh... black

18:15

whatever it may be everybody saying everybody liked

18:17

music and i think was just a the

18:19

run of the the time i guess now

18:23

now just recently uh... on

18:26

your co-star uh...

18:28

net fun a cello passed away and

18:32

um... it's

18:34

could you tell us some memories i'd

18:36

say i heard like unlike

18:38

so many movie teams who

18:40

hate each other off-camera

18:43

you to actually loved each other

18:45

well yet you know uh... uh...

18:47

when i first met and

18:50

that uh... before we even started doing

18:52

films together we were doing

18:54

a show for dick clark uh... at

18:56

the hollywood bowl and she

18:58

was about fifteen i was a little older than and

19:01

that and uh... i thought

19:03

she was awfully cute and uh...

19:05

i asked if i could give her a call

19:07

in maybe take on a date or

19:09

something she gave me a number and i called

19:11

and of course i had to go to the house and meet the

19:13

mom and dad and i took to

19:16

have a slice of pizza and that was our

19:18

first and then later

19:20

on in years uh... we uh... they cast

19:22

me to do uh... frankie in in uh...

19:24

the first beach party and i said who's

19:26

playing uh... dvd what was the character's name

19:28

they said in that for nichola so great

19:31

and uh... the first scene we did

19:33

together uh... i said the

19:36

director bill ashley said you know this is really going to

19:38

be a lot of fun and

19:40

it was in we had the best

19:42

time we made about seven eight pictures together a

19:45

lot of television together in we

19:47

never had an argument never a disagreement

19:49

uh... it was just a wonderful friendship

19:52

and it's a shame that uh... cheap cheap

19:55

had this disease that was so debilitating is

19:57

was terrible life for her And

20:01

it's funny, Disney always had

20:03

a habit of finding these

20:05

cute girls who would later

20:07

on become objects of lust

20:09

to any boy out there.

20:12

Like Miley Cyrus and Selena

20:14

Gomez and all. And

20:16

it's like she... I

20:20

don't think she was trying to

20:22

be a sex symbol. Never. Never.

20:24

But everyone noticed she was developing

20:27

each movie. Quickly.

20:31

And largely. She

20:34

was a great looking gal and

20:36

never played on it, you know.

20:38

She had that it, you

20:40

know. That was it. And when did

20:42

you... You said, I think you first

20:45

noticed, something was

20:47

wrong during Back

20:49

to the Beach, which was a take off

20:52

on your movies. Yeah, well first of all,

20:55

she had gotten very thin for that role,

20:57

you know. Most women always want to look,

20:59

you know, lighter, pounds-wise because of the screen.

21:02

They put some extra weight on you. But

21:04

she was very thin and... Just around 87 now, Back to

21:07

the Beach. 87, yeah. And,

21:10

you know, she did very well. She's

21:12

very good in that picture. And we

21:16

had finished shooting, but we had to do a lot of promo stuff. So

21:19

we would go and do some things

21:21

in front of the camera, promoting our

21:23

film and the cue cards. And she

21:25

couldn't see. And finally, she was stumbling

21:27

around when we were shooting on the

21:29

beach. And

21:32

I said, you know, we don't have

21:34

our sand legs anymore, you know, whatever it was.

21:37

And finally she went and went

21:40

to an optometrist for her eyes. And

21:43

they really... That's when she was diagnosed

21:45

with MS. And

21:48

then we went on the road and her husband said

21:50

to me... He

21:52

said... He used to call me Little Buddy. He'd

21:55

say, hey, Little Buddy, can I meet you a

21:57

little earlier? Because we were rehearsing, putting our show

21:59

together for the... road theaters.

22:02

And I said, sure. So I got there

22:04

about an hour earlier than our call time

22:06

to rehearse. And he sat down. He

22:08

said, I want to tell you something. I want you to be very

22:11

quiet about this. I don't want you to say

22:13

anything, not even to her, but

22:15

she has a disease, MS. And

22:18

I went, what? And

22:21

that was it. You

22:24

guys are a great team, such great chemistry and

22:26

such energy. And she was saying before,

22:28

she was a very vibrant performer, very

22:30

lively. Yeah. Terrific guy. And

22:34

also, it was what's so funny about

22:36

that movie Back to the Beach is

22:38

it's you and Annette like poking

22:41

fun at yourself. Right. They

22:43

sort of took the Brady Bunch movie

22:45

approach where they did a parody of

22:47

the beach movies. I love when you're

22:49

using the kid's head as a battery.

22:51

Right. And everybody turned up and that

22:54

I mean, Don Adams is in it

22:56

and Bob Denver and Alan Hale and

22:58

Pee Wee. They all Pee Wee loved

23:00

our original films. And when

23:03

we had asked him to do it, because he was very

23:05

hot at the time with the playhouse. Sure. And

23:07

he came on and we just loved him.

23:10

He's a wonderful guy, talented guy. And it

23:12

was a great scene in there. Another

23:14

great scene is with

23:18

Stevie Ray Vaughan. Oh, yeah. And Dick Dale.

23:20

Oh, sure. What a high plan. Yeah.

23:22

What a great. It's a video. The song is

23:24

great. You can find the video on YouTube. But

23:26

it's always watch horrific. And once again,

23:28

I have to ask you about another performer because

23:30

she worked with all of them. And

23:33

that's the great Jack Benny. Oh,

23:36

Benny was wonderful. I did my

23:38

first meeting with him and

23:40

working with him was his the Jack Benny

23:42

show. And it

23:45

was a nice cute little show about me recording.

23:47

And he's never been to a recording session. And

23:50

he comes in and he does all these things

23:52

in the studio. But after that, he

23:54

said, Frankie, I want you to work with me in Las

23:56

Vegas. I want you to open for me, which I did.

23:59

And loved working with him because

24:01

he would give me such be

24:03

no advice like we would do

24:06

it as sketch and he would say to me

24:08

frankie now why is

24:10

it that all singers uh... or

24:12

italian and i say that's

24:15

right mister penny and i say that you

24:18

know tony bennett frankson archer al martino and

24:20

he said well you know we

24:22

have a lot of jewish singers to sites

24:26

okay and he say well like

24:28

uh... like uh... tony martin

24:32

sammy davis junior so

24:35

now you say to me now

24:37

wait until i come back to you

24:39

to read your next line so

24:42

i was if you say uh... and i would

24:45

say uh... sammy davis junior and he would

24:47

do is little take in all and

24:49

come back to me and then he say to me funny

24:51

his uncle wasn't now

24:55

he was great to work with too and

24:58

you know all that frugal stuff about

25:00

him you know being cheap uh... cheap

25:02

guy knows at

25:04

the end of the performs he gave

25:06

me as a pair of cufflinks that

25:09

were beautiful uh... sapphires very generous man

25:11

and i i heard everyone said benny

25:13

was like the nicest person just terrific

25:16

just really was beloved yeah

25:18

and you know and not uh... as

25:20

at the opposite lucy lucy

25:23

when you would go into re for

25:25

i did a few lucy shows you

25:27

know you go around with the writers and whoever's in

25:29

the cast and so forth and pencils are all over

25:31

the place in you you know you make changes in

25:34

she made changes constantly benny would

25:36

just sit there and say that's

25:38

good that's good you

25:41

know you accept it because he he trusted

25:43

the the writers you know i

25:46

heard benny was also like brilliant

25:48

as far as he

25:50

would hear a joke it would get

25:53

a tremendous laugh and he'd say that's

25:55

a really great joke but it just

25:57

doesn't fit in with the show it

26:00

could be yeah yeah you know a lot of a

26:02

lot of performers are like that you know it's it's

26:04

good but it's not for me it's not what i

26:07

represent that you know you gotta be careful yeah of

26:09

i mean if you do have uh... a

26:11

path and away for your career and you

26:14

believe it you gotta stick with it you

26:17

just don't go off and you know

26:19

because uh... there's some uh...

26:21

off color humor that you're going to do

26:23

that that i learned a long long

26:25

time ago uh... cheap joke is not

26:27

worth it you know do something about and i would

26:30

have no career what one

26:37

writer that i worked and i love them his name

26:39

is bobby o'brien and he wrote for lucy and a

26:41

lot of other people too and

26:44

he would say to me don't do cheap

26:46

jokes that say something that maybe isn't the

26:48

belly laughter left but let them take you

26:50

home let them talk

26:52

about you and what you said around the

26:54

inter table interesting morning

26:56

you know so lucy was a

26:59

bit of a general on the set of

27:01

all controlling every everything are you every detail

27:03

she'd say come on come up

27:05

stage a little more frank played this camera here

27:07

do that i mean she'd she knew everything yeah

27:09

yeah yeah of course you learned from desi or

27:11

she'd love desi to the day

27:13

they both went you know and he invented

27:16

the multiple camera oh yeah yeah format yeah

27:19

it's i we were talking

27:21

to um... robert

27:23

osborne from turner classic

27:25

movies and well

27:27

i mean everyone knows like desi

27:30

arnold's was like this unsung genius

27:32

everything we know about tv he

27:34

invented and but and

27:36

he said that after

27:38

they divorced after he was cheating on

27:41

her and everything she still

27:43

remained in love in love i

27:45

mean uh... lucy i

27:48

really got to know her and uh... as

27:51

an example i would talk to her

27:54

you know we've become back from a plane trip or

27:56

something on the phone the flight and she would talk

27:58

about lose uh... desi and tell me how brilliant he

28:00

was. An example

28:03

with Desilu Studios, she told me that

28:05

in his broken English on

28:08

the floor had plans of where cameras were

28:11

going to go and this and

28:13

she was thrilled to just

28:15

tell me about all this other stuff and

28:17

she really did love him all the time.

28:20

That love never left. I

28:23

was doing a show in Vegas

28:25

and Lucy came in to see me and I was doing

28:28

a, I tried to do something

28:30

a little bit different, a little dramatic thing

28:33

in my show and Lucy

28:35

came back after the show and she said take that

28:37

number out. I said which

28:39

number Lucy? She said the one about the

28:41

kids. I said but

28:44

Lucy I'm trying to establish something that's a

28:46

little more dramatic for me. She said I

28:48

don't want to hear that song and neither

28:50

does the audience. I

28:53

said why? She said listen to what you're

28:55

saying. It was

28:59

a song that Sonny and Cher did

29:02

called You Better Sit Down Kids. I'll

29:05

Tell You Why Kids. Your mother

29:07

and I kids don't see eye to

29:09

eye kids. It's about a divorce. She

29:12

said to me you not many people are out there that are

29:14

going through that. She

29:16

said take it out and she was right.

29:18

Interesting. We will

29:21

return to Gilbert Gottfried's

29:23

Amazing Colossal Podcast but

29:25

first a word from

29:27

our sponsor. Now

29:30

I gotta ask you about another hero of mine, Peter

29:33

Laurie. Oh I love Peter. He constantly

29:35

would say to me I love Italians.

29:37

Of course he loved wine.

29:40

He's a big wine drinker. And Walter Pidgeon.

29:42

Oh yeah, on Voice of the Bottom of

29:54

the Sea. Yeah right. Sure. We'll get to

29:56

that too. Okay. Yeah. I just want to

29:58

get to all the movies but let's see.

30:00

Let's just go back a second and talk

30:02

about how you go from teen idol to

30:04

movies. I mean, you make

30:06

Didi Dinah's the first hit. Right, right. And first of all,

30:08

is it true that you held your nose while you were

30:11

recording that? Well, I sang through my nose. Okay. Okay.

30:14

That's the way I did it. Because to

30:16

me it was a very staccato arrangement. And

30:18

you know, everybody's kind of learning their parts

30:21

and all this other stuff. And after a

30:23

while I'm singing, I love my Dinah, Didi,

30:25

Dinah, I love my Dinah. And after a

30:27

few rehearsals, and the back, Dinah,

30:29

Didi, Dinah, the back, Dinah, Didi, and

30:32

the producers said, what are you doing? I said, I don't know, it

30:34

sounds very staccato. He said, do it like that. I said, what? He

30:37

said, yeah, it's a gimmick sound. Let's do it. That was

30:39

a song you didn't like. No, I didn't like it, no.

30:42

And of course they put it out and that was my first hit. Right.

30:45

And then how did we

30:47

get to Venus, which changed

30:49

everything? Venus happened because, again,

30:51

in the neighborhood, there was

30:53

a knock on the door and I

30:55

was in South Philly and I opened the door and

30:57

the guy introduced himself. He said, my name is Ed

31:00

Marshall. I'm a songwriter. Can I play a song for

31:02

you? I said, yeah,

31:04

come on in. I had a piano and he sat down

31:06

at the piano and he plays, and he starts singing this,

31:11

being his goddess of love that you are. And

31:14

I went, well, play that again, please. He

31:17

plays it again. I called the record company right

31:19

there and I said, I got

31:21

a song. You've got to hear this song. I'm

31:23

going to bring him over to because the record

31:25

company was out of Philly. And

31:28

I said to him, have you played this song for

31:30

anybody else? He said, yeah, I

31:32

just come from Malmartino's house. I

31:35

said, well, what did Al think of it? He said he liked

31:37

it, but he think it would be a good song for an

31:39

album. Interesting. So I took

31:41

it and they, three days

31:43

later, I came into the city, Bell

31:46

Sound Studios. I did seven takes

31:48

on it. I waited until

31:50

four o'clock in the morning with the acetate so

31:52

I could take it back to Philly. I

31:55

played it constantly. I just thought the song

31:57

was the best song I've ever had offered

31:59

to. What was it was it just that you fell in

32:01

love with the song musically or you sensed a hit or

32:04

both both both? Yeah, I just loved the

32:06

song. I I thought that the melody was

32:08

wonderful that the message was just great and

32:12

When we were going Pete DeAnzis wrote the arrangement

32:14

and of course we Bob Marcucci was my manager

32:16

We were driving in the New York he was

32:18

driving Bob and Pete was in the back with

32:20

the guitar and you know learning the

32:23

song and more feel to it this

32:25

that whatever and and He

32:28

said wait, he hear the arrangement. I said Pete,

32:30

but what do you mean? Wait till I hear the arrangement? I

32:32

said you haven't heard it. He said yeah,

32:35

I wrote it. I said, but you

32:37

haven't heard it yet He said I got it in

32:39

my head. It's great Yeah, then we

32:41

went into the studio and it was just magic

32:43

and how many records that Venus sell a lot

32:45

Oh, I wish I got paid for as many

32:47

as yeah And and

32:50

that's the teen idol thing basically half

32:52

starts to happen at that point No,

32:54

no, it's that before that before yeah.

32:57

Yeah, okay. I'll never forget calling Dick

32:59

Clark on the show live

33:02

The American Bandstand and he said Frankie got anything

33:04

new coming out I said I've got a song

33:06

coming out dick and I think it's I

33:08

love this song and I hope that the kids like it

33:10

too and I said he said what's the name of that's

33:12

it's called Venus and Now

33:14

what was happening with that movie?

33:19

The idol maker. Yeah, well that's

33:21

based on Bob Marcucci. Yeah, right

33:24

Sharky and Peter Gallagher.

33:26

Yeah, and and Critically

33:29

acclaimed moves a good movie. Yes.

33:31

Very good. Yeah, Taylor Hackford what

33:33

happened in that, you

33:35

know, Fabian Had

33:37

come to me and said we ought to sue because

33:40

they really took our lives without any Saying

33:43

yes to you know or any kind

33:45

of a deal, you know So Tommy D character

33:47

is based on me you and the Peter Gallagher

33:49

character right as Fabian, right? And

33:52

I said, you know, babe, I can't do it

33:54

that these this guy made my life. How can

33:56

I do that? Not

33:58

really knowing that if I sued really

34:01

wouldn't be Bob Marcucci would have been

34:03

Transamerica or the studio you know but

34:05

for some reason I said I can't do

34:08

it he made my whole life you know

34:10

and I didn't Fay wound up suing and

34:12

got some money on him but I didn't

34:14

nothing nothing in the movie is I've heard

34:16

you say you distance yourself from from the

34:18

way the characters portrayed that things didn't really

34:20

happen that way no no they

34:22

made me a pill poppin kind of a guy

34:24

and I wasn't I was a working

34:27

trumpet player right and do you remember the

34:29

song from the movie I don't I haven't

34:31

seen it in years baby

34:34

baby I just

34:36

want to take you where

34:38

I'm going really Peter

34:41

Gallagher sings that oh that was the

34:43

Fabian care yeah yeah yeah interesting

34:46

guy though Bob Marcucci oh

34:48

yeah and he was the idol maker he

34:50

really was I mean he took when he

34:52

found me and started and

34:54

had belief that you know why I don't

34:57

know but he had believed and

34:59

I was dating a little gal in

35:02

the neighborhood there and she

35:04

was in junior high school and

35:07

she said you know there's a kid and

35:10

our school here the girls just go

35:12

crazy for and I said

35:14

what's his name she said Fabian I said Fabian

35:18

all of a sudden all I know

35:20

is that Bob Marcucci found him in

35:22

the neighborhood his father had a heart

35:24

attack oh and there's an ambulance parked

35:26

on the street yes yeah it's a

35:28

strange story yeah and and and Fabian

35:30

is standing outside waiting for the ambulance

35:32

or whatever and Bob Marcucci sees this

35:34

good-looking kid because he'd looked he was

35:36

a combination of Elvis

35:38

and Ricky Nelson you know good-looking

35:40

boy and Bob signed

35:43

him and and started he made

35:45

no musical background whatsoever just a

35:47

kid sitting on a stoop right

35:50

on a street you know what he's

35:52

he fave all through his career and even

35:54

to this day because we do it a

35:56

show called golden boys and it's

35:58

Bobby right Dell and fave and myself, three

36:00

guys from the neighborhood. And

36:03

he's still as popular as ever, but he

36:05

had a quality that people

36:08

just love. He says,

36:11

you know, I'm not the greatest singer,

36:13

but he does a great job on

36:16

stage. They love him. They stand when

36:18

he finishes his set

36:20

on the show. He had a big

36:22

career. Yeah, yeah. So why was it hit

36:24

and Venus was a hit and Dee Dee Dina was a

36:26

hit and you're getting mail, lots of mail. 12,000

36:29

pieces like a week or something like

36:32

that. Yeah. Right. But you know, what

36:34

interesting about the song, why that's the

36:36

last number one song that ended the

36:38

decade of the fifties. It

36:40

was December 31st. It was number one. Interesting. 1959.

36:42

So with the 12,000 pieces of

36:45

fan mail a

36:48

week, yeah, the studios come

36:50

calling and that's what happened. Yeah. Warner

36:52

Brothers says, Hey, this kid, he's got

36:55

a following. Let's get him in with

36:57

a major star and

36:59

he'll bring in some young people. They have

37:01

something to do with the fact that Elvis

37:03

was doing movies at that point. Then they

37:05

probably, probably. And I went in and I

37:07

did my first picture called

37:10

guns of the timberland with Alan

37:12

last. Great. Yeah. Jeannie

37:14

crane, Gilbert Roland. And

37:18

you know, it started my whole and

37:21

it was the first movie that

37:24

was written and produced by Aaron

37:26

spelling. Interesting. It

37:28

was a young producer who hadn't

37:30

done anything to that point. Jumping

37:33

up ahead. How did you get

37:35

that part in Greece? You

37:37

know, that's, that's really something. First of all, I

37:39

had seen Greece here on Broadway. I did a

37:42

promotion. I was playing the Copacabana, which was like

37:44

the spot to play. And

37:46

they had asked me to do this promotional thing and

37:48

marketing thing, a tie-in. And

37:51

I went to the theater where was the,

37:53

what there was playing it. And

37:55

I met the cast and at

37:57

the time and I watched the play.

38:00

Years went by three four five years whatever

38:03

and I was playing golf at lakeside Country

38:05

Club And I come off the first nine

38:07

I went in to get some

38:09

cold drink and my manager was there and

38:11

he says I got the

38:13

script Paramount wants you for this picture. I said

38:15

what is it? He says called

38:17

Greece I Said

38:21

what role he said teen angel

38:23

I Said forget it When

38:26

I played the back And

38:30

he's still there he says they will not accept

38:33

no They said at least

38:35

would you please come in and talk with them?

38:38

I said alright, so I go to Paramount and We're

38:41

sitting around the table with Alan Carr the

38:44

producer and stig would and the

38:46

director Randall Kleizer And

38:48

he says to me why don't you want to do this?

38:50

I said listen fellas I love

38:52

the show it was great But you

38:54

know the character of teen angel is

38:56

an extension of Elvis and I'm not

38:59

that I've got a style That

39:01

I sing and in the

39:04

play, you know, he's all in black and long

39:06

sideburns. They said we'll change it We'll

39:08

check we want you for this role So

39:11

they changed it and I got by a

39:13

piano and I did my rendition of the

39:15

song They

39:17

put it all in white. I'm all in white and all

39:19

this other stuff Six days

39:21

rehearsal on the soundstage and two days of

39:24

shooting a five-minute song, you know So they

39:26

really took time with it and

39:28

you know, I didn't think anything of it, you know I

39:31

did four takes on it and you were Concerned

39:35

that they were gonna make you look like a

39:37

joke The whole

39:39

very much so I said look I don't want

39:41

to be treated and handled like you know When

39:43

I come on this screen that you

39:45

know, this is a joke, you know Well,

39:48

the thing that just thrilled me

39:50

to death was when they previewed

39:53

The the screening in in Hawaii

39:55

believe it or not The

39:59

writer I can't remember her name, but a

40:01

very big writer wrote

40:03

the article and review of the

40:06

picture and said, when Frankie Avalon

40:08

comes on the screen, there's a

40:10

yell. When Frankie Avalon leaves the

40:12

screen, there's an applause. What's

40:15

a great, it's a great and funny little song and

40:17

you sing, you sing it, you have to sing it

40:19

straight in a way, but you also have to play

40:21

the comedy, which you do. I mean, you're singing songs

40:23

about a hooker, you're only customer. I'm

40:26

going to the big malt shop in the sky,

40:28

but you find the laughs. I mean, it had

40:31

to be sung by somebody that could do comedy.

40:33

Well, you know, what's amazing about that, even today,

40:35

I mean, I'll

40:38

meet someone who's 12,

40:40

13 years old, you know, they know that

40:42

picture. That picture goes on forever. It's

40:45

amazing. I have met people

40:47

that have said to me, I've seen

40:49

that picture, they count 63 times, 28

40:53

times, you know. And if it's

40:55

on television, if you are serving the

40:57

channels and you see Greece, you'll stay

40:59

with it. Oh, my wife's obsessed with

41:01

it. You don't get off it. It's

41:03

an amazing thing. And now, when I'm being

41:06

directed by Randall Kleiser, second

41:08

day of shooting, he comes to me and says, Frank, do

41:10

you remember me at all? And I said, from what? He

41:13

said, the beach pictures. I said, no. He

41:15

said, I was one of the extras. Oh,

41:17

wow. He was an extra in our beach.

41:19

Interesting. To the Blue Lagoon

41:21

too and a couple other popular movies.

41:25

And you worked with another great

41:27

comedian, Milton Burrow. Another

41:30

genius. I mean, just

41:32

terrific. He knew everything from the

41:34

music to the cue cards to

41:36

the sketches. He

41:38

was just brilliant. You

41:42

know, and not only he would call me at times

41:44

to say, let's go to the motion

41:46

picture home. He

41:48

was really an advocate of doing shows. And you know,

41:50

you'd go in there and I would see Larry Fine

41:52

of the Three Stooges, you know, had a stroke. And

41:55

you know, and I would, you know, do in those days,

41:57

I was not only playing the trumpet, but I was doing

42:00

a lot of impressions I would do. What

42:03

impressions did you do? Oh, I did. All

42:05

of them. And I ended up doing... We can't

42:07

let you get away with this. The

42:10

one that I would do, and

42:12

I learned step for

42:15

step the Cagney dance in

42:17

Yankee Doodle Dandy. And

42:19

my whole bit was the fact that we played

42:21

da da da da da da da da

42:23

da da Hollywood, and my

42:26

piano player would start playing boom boom boom boom boom boom boom boom

42:28

boom boom. And I would say,

42:30

but you know, actors have to make

42:32

auditions to get the part. And he

42:34

would say okay. And I would step back and he

42:36

would say, Mr. Wayne,

42:38

Mr. John Wayne. And I would do the walk and

42:40

I'd say, well what do you want, kid? You'd

42:43

say, are you ready to do your part? Well,

42:45

you're damn right I am. And

42:47

I would do Wayne, I would do this

42:50

one, that one, and at the end I

42:52

would do, I'm the Yankee Doodle Dandy. And

42:54

then I learned how to do the dance.

42:56

And I would finish the dance with you.

42:58

Alright, I'm a Yankee Doodle Guy. I

43:02

would do that. I

43:05

got to twist your arm and what

43:07

was some more of the voices? Who

43:10

would I do? These were

43:12

mostly visual things. Yes. I

43:14

would do Dracula. Oh great. Welcome.

43:18

I can play the part. You

43:20

know Gilbert does a little Dracula himself. Dude, let me hear

43:22

it. Okay, gotta

43:24

drink some water. Look

43:26

at doing vampires here. Listen

43:30

to them, children

43:32

of the night. They

43:35

are. What music they

43:37

make. I

43:39

can't believe we're doing. Don't be afraid.

43:42

Sometimes in our dreams, the mind

43:45

plays strange tricks. I

43:48

love it. Spiders

43:50

spinning its way turn

43:53

on very play. Pray

43:56

the blood is the life,

43:58

Mr. Enfield. Mr.

44:00

Enfield. Spelt backwards who it was?

44:03

Yeah. Was Dracula? No, Dracula was

44:05

Alucard. Oh, that's it. And son

44:07

of Frank- And son of Dracula.

44:09

Wasn't that John Carradine? Lanchainey Jr.

44:11

Oh, Lanchainey Jr. Yeah. Yeah,

44:14

yeah. That was great. I can't

44:16

believe that me and Frankie Avelon

44:18

are doing- Doing impressions. Yeah, duly

44:20

ill-agossi. But

44:22

the best one I do- Yes. Nobody

44:25

does it. When I

44:27

do this for Rydell, which he falls off

44:30

his chair, Ed

44:32

Wynn. Oh, great. But perfect fool.

44:35

There he goes. My son,

44:37

Keenan. Well, I'll tell you this. He's

44:43

really a good actor, you know. Ed

44:47

Wynn. And

44:50

I can't believe I stumbled on a Dracula

44:52

line, so I have to do it again.

44:54

Listen, oh, a spider spinning

44:57

its web for an unwary

44:59

fly. The

45:02

plot is the life, Mr.

45:04

Enfield. It's great.

45:06

Yeah, that's it. Yeah, yeah. And

45:09

remember when he would come down the steps. Oh, brilliant. Yeah. And

45:12

he walked down and the girl was always screaming, someone's been

45:14

in my room. Somebody, don't be afraid.

45:17

Sometimes in our dreams, the mind plays three.

45:19

You need the sedative, if you would say.

45:22

Oh, yes. Yes. I

45:24

said the sedative. You

45:27

mentioned John Wayne. Go ahead, Gil. Oh,

45:29

did you ever work with Lugosi? No. No.

45:32

No, he was gone by then. You're

45:34

talking about John Wayne before. Yeah. And

45:37

so, again, you do the teen idol thing

45:39

that's exploding. The studios want you.

45:42

You do the Alan Ladd picture. And

45:44

now, the Alamo. Yeah. The

45:47

Alamo, he

45:49

had called Warner Brothers and

45:52

he wanted to see some of the dailies.

45:54

He directed that picture too, John Wayne. Produced,

45:58

directed, hacked. and

46:00

he liked what i didn't thought that you know i was

46:03

i was about uh... to make that

46:05

picture fifty nine so i was like nineteen but

46:07

i was playing like fourteen and

46:10

um... he put me in the picture

46:12

and uh... had a great

46:14

friendship with him it would really been uh...

46:16

amazing is that my wife uh...

46:19

sister was

46:21

married to uh... his

46:23

son michael who produced a lot

46:25

of his film interesting so i i really

46:27

got to know that the family you know

46:29

and of course working with the

46:32

duke and he was tough for he

46:34

was i mean if you

46:36

weren't in and didn't know your lines or whatever i

46:38

mean he he had laurin sari

46:40

in tears uh... the only guy

46:42

he didn't fool with was richard with market was

46:44

written with mark was such a pro they

46:47

were good to you are just a just

46:49

terrific as i was richard with mark like

46:51

you know what he was a very quiet

46:54

man he only he really only hung out

46:57

with and the two

46:59

guys that i brought with me because you

47:01

know i never want to leave the neighborhood

47:04

i felt very comfortable with hucklebuck which is

47:06

a guy that i've got guy

47:09

by the name of a kid domo worked in and

47:14

sunny troy was my guitar play and

47:17

worked south philly kids you know about but we're

47:19

doing a picture in bracketville texas you know in

47:21

the middle of no where can imagine and

47:24

we would go to the commissary to know they

47:26

built the whole alma replica of of the alma

47:29

and we would come back from you know when we

47:31

see what's at stake you know just the kind of

47:33

tease one another until one time we're coming back and

47:35

sunny choice it watch that snake i swear my mother

47:38

when he said that there was a snake never

47:41

because that you knew that he wasn't uh...

47:43

fit in that another

47:45

person i have to get to

47:47

from all your beach movies was

47:51

uh... eric von zipper played

47:53

by harvey lumbic now

47:56

what do you can you tell us about

47:58

how well i'd first met a harvey i

48:00

worked with harvey in a picture i did

48:02

over columbia called sailor crooked ship with

48:05

ernie kovak's and robert wagner we have to ask

48:07

you better because that's to yeah and uh... he

48:09

was in the picture and then

48:12

finally when we started to our first speech party

48:14

picture uh... you know if

48:16

you had been around and as a

48:18

comedy actor as a serious as style

48:20

like seventeen but what

48:22

was interesting about him was he

48:24

created that character it

48:26

wasn't written like that he took all of

48:28

those kids that with the rats of

48:31

on zipper and his rats and

48:33

while we'd be shooting some seem whatever he'd

48:36

be in the other part of the soundstage

48:38

whatever putting all those things together all those

48:40

you stupid skinned a finger and all this

48:42

and he did all that himself so he

48:45

created that character which became very important all

48:47

of our pictures he was a great guy

48:50

i'll never get we were shooting some of the

48:52

pictures and he would come in and say and

48:54

i think it was also an acting teacher and

48:59

he would come in he say jesus

49:01

i've got this kid that is just

49:03

the funniest what a talent what a

49:05

talent what a talent kept raving about

49:07

him finally wound up to be uh...

49:10

ritter uh... all

49:12

john ritter he

49:15

said this kid does practice this he's

49:17

funny faces that he just raved about

49:19

him of course you know john ritter

49:21

became a major major yeah

49:24

i'd comment two movies yeah

49:26

both not on the television john

49:28

ritter you know with the threes

49:30

company and all that stuff another

49:33

comedian uh... that i have to

49:35

ask you about is don rickles

49:37

oh it worked on you

49:40

know don was so thrilled to get into

49:42

the movies he

49:44

did one picture uh... was called uh...

49:46

the one with the clark gable oh

49:49

a run silent run deep and

49:52

and and he tells a great story about

49:55

uh... you know he had one line and there's

49:57

some and and gable returns to him

50:00

I'm gonna tell you. And

50:02

Rickles was supposed to say something. He went like this. Ha, ha,

50:04

ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha,

50:06

ha, ha, ha, ha, ha, ha, ha, ha, ha,

50:09

ha, but Rickles, you know, uh, she's, I

50:11

loved working with him and his mother, I

50:13

just loved his mother. She used to make

50:15

me the best, uh, sandwiches, uh,

50:17

uh, chicken liver sandwiches. You know, he'd

50:19

bring them on the set and, well,

50:22

we had a lot of good times together.

50:24

Rickles' mother would prepare lunch for him and

50:26

Hugh. Yeah, yeah, in a brown bag, you

50:28

know. And,

50:31

you know, every, I mean, for

50:33

12 to 14 hours a day, there

50:35

were nothing but laughs. I

50:37

mean, he never stopped, you know, and he

50:40

was just, uh, on all the time. There

50:42

were a lot of great comics in those

50:44

pictures, in the beach pictures. And I heard

50:47

Rickles was very close to his mother. Oh,

50:49

absolutely. Yeah. And, you know, he

50:51

would do an impression of his mother, mmm, mmm, mmm, mmm, mmm,

50:53

mmm, mmm. You

50:55

know, she adored him and he loved her

50:57

and, uh, it was great. Uh, I'd go

51:00

to the, he lived in an apartment at

51:02

the time. I took him to

51:04

play golf one time. I took him to the lakeside,

51:06

he figures, you know. And in

51:08

those days, you know, they had these anti-Semitic

51:10

clubs, you know, and I'd take him in

51:12

and he says, I'm the Jew. In

51:17

the clubhouse, he would yell all over the place, you know. Funny

51:21

guy. Jesse White, Buddy Hack, and Lori Amsterdam.

51:23

Paul Lynn, Harvey Lombeck we talked about, and

51:25

Buster Keaton. I mean, there were so many

51:28

great comics. We sit around, we sit around

51:30

the set with Buster Keaton and Mike. Can

51:33

you imagine, he would tell his stories how

51:35

he started his own studio. Sure. You

51:38

know, he, he thought up all of

51:40

the gags, the things, the comedy

51:42

routines, and wrote everything and how he

51:44

lost everything. And was

51:46

really broke, you know, and doing

51:48

our pictures and loved to do

51:50

movies, you know, and wanted to

51:52

do his own little pratfalls and

51:54

off the chairs and things, you

51:56

know. Wasn't

51:59

that how he got the nickname, Buddy? Buster because

52:01

as a child actor he was... From Houdini. That's

52:03

right. Is that right? His

52:05

parents used to pick him

52:07

up when he was a little kid and

52:11

throw him on stage,

52:14

smash him against the wall, swing

52:16

him around, and Harry

52:19

Houdini said to

52:21

them, you ought to nickname this

52:23

kid Buster. That's funny.

52:26

Well it fit perfectly, didn't it? This

52:28

is in the latter years, he was doing

52:30

the camera shows then. He

52:33

was the biggest star in the world. He

52:35

was like Chaplin. I mean in that... And

52:38

he was no young man when he was

52:40

doing the movies with you. You know, I

52:43

think I figured it out. He

52:45

must have been about 65. And

52:48

he was doing pratfalls and everything.

52:51

Yeah, yeah. Yeah, he

52:53

wanted to do his own stuff, you know. And

52:56

everybody, anything that he did, the

52:59

crew and the cast would

53:01

watch him and applaud. That's

53:03

nice. Yeah. That's

53:05

nice to hear. The appreciation of this talent, you know.

53:08

And there was another young talent in a couple of

53:10

the beach pictures, Little Stevie Wonder. Oh

53:12

gee. In meeting Stevie

53:14

Wonder, he

53:16

was rehearsing and kind of doing some takes

53:19

on the song he did. He

53:22

was Little Stevie Wonder. So

53:24

finally, we're on a break

53:26

and we're sitting down. He said, can

53:29

I touch your face? He says to me. I

53:32

said, sure Stevie. Because that's the only way

53:35

you could feel what I look like, you

53:37

know. And I stayed

53:39

there and he looked

53:41

at me, but he put his hands all over

53:43

my face, felt my nose, my eyes

53:46

and everything, which was kind of

53:48

interesting. I always wondered about that.

53:50

Yeah. In movies, there's

53:53

always the dramatic touching moment

53:55

where someone says, can I

53:57

touch your face? But

54:00

the blind people really do that. Yeah,

54:02

he did to me. Wow. Yeah.

54:05

I was watching some of Muscle Beach Party

54:07

with Stevie, and you know, Buddy Hackett's the

54:10

spoiled rich kid, and he's on the phone,

54:12

he's trying to buy Sicily, and he has that great line.

54:15

He says, all right, buy half, let Sinatra have the other

54:17

half. And I'm

54:19

watching this and I'm thinking it's not every movie that

54:21

has Buddy Hackett, Stevie Wonder and a Bond girl. A

54:24

Bond girl? Luciana Paluzzi. Oh, Luciana Paluzzi,

54:26

yeah, yeah, beautiful. Yeah, from Thunderball. Yeah,

54:29

we're doing a scene on

54:32

the beach, and it's a night scene I'd come in from

54:34

night surfing, you know, and those days you'd

54:36

smoke in the scene or something, you know.

54:38

And all of a sudden, and I'm kind

54:40

of wandering away from a net at this

54:42

point, you know. And

54:45

we get to talking, and she really

54:47

has the hots for Frankie, you know.

54:50

And we get to the last part

54:52

of the scene is where we embrace, and I

54:54

see I got a wetsuit on, you know, a

54:56

big yellow wetsuit. And I take her

54:58

in my arms and I'm kissing her and kissing

55:00

her, you know, and I'm waiting for the director,

55:02

Bill Asher, cut, okay, that's

55:05

a print, whatever. And

55:07

we're kissing and kissing and kissing

55:09

and kissing and kissing. Finally

55:13

after, I don't know how long it was, I look,

55:16

the crew, everybody left to

55:18

sit. You

55:23

were telling us there were quickies. I mean, you made these films in

55:25

15 days. Each one of them.

55:28

Yeah. American International Pictures. Yeah. We

55:33

will return to Gilbert

55:35

Gottfried's amazing Colossal Podcast

55:37

after this. And

55:40

what else do you remember about Buddy Hackett? Well,

55:44

I felt as though Buddy Hackett and Don

55:46

Rickles were really in competition with one another.

55:49

Oh, yeah. On the set, you know.

55:51

We tried to be funny, you know. And you

55:53

know, they were both very funny guys, you know.

55:56

But they got along well. Buddy

55:59

was a little. uh... nuts had

56:03

other guest house that she had all the

56:05

other yeah i mean i i remember one

56:07

thing uh... you know i come into work

56:09

and i i i i was doing a

56:11

picture to at the same time i

56:13

was doing a picture called sergeant deadhead and i

56:15

was commuting from las vegas i was playing at

56:17

the sense i was on the contract of the

56:19

sands at the time and

56:21

sammy davis said to me uh... you're doing a

56:24

picture and doing this he said i got the

56:26

answer for you he said here's what you do

56:28

because i would fly in after they shoot you

56:30

know and be on stage by eight fifteen

56:33

opening for because i was the singer

56:35

for like alan king or somebody like

56:37

that and i

56:39

couldn't get on another flight until six in the morning

56:42

so but by the time the second show was

56:44

done twelve thirty one o'clock i couldn't sleep on that

56:46

so sammy said to me here's what you do you

56:49

call you get an ambulance he

56:52

said and after your second show get in

56:54

the ambulance it'll be air conditioned you

56:56

get on the cart there and you tell

56:58

the driver six to seven hours and you

57:00

sleep you get the studio you shower and

57:02

you do your days work and i think

57:05

that the work for me was really a

57:07

great suggestion sammy gave me now now

57:09

that uh... gilbert owns a uh... a strange item in

57:11

his house he has a life mask of vincent price

57:14

so we have to ask you about

57:16

vincent price and i have life mass

57:19

of vincent price bail ago c and

57:21

lancini junior wow what a trio uh...

57:23

and you worked with vincent price on

57:25

the after goldfoot the bikini machine gia

57:27

y'all what a gentleman what a gentleman

57:29

and again a pro and

57:32

uh... you know uh... connoisseur

57:34

of wines paintings and

57:36

a brilliant man just sit down and listen tell

57:39

stories of talk it always just to just uh...

57:42

thrill for me it was very

57:44

nice very nice man doesn't ever carry your on

57:46

the set of these movies in your son he

57:48

i'm here with vincent price and doctor goldfoot in

57:50

the bikini machine you think about trumpet player on

57:52

your experience action that i get here

57:54

i don't know i just went along with everything

57:56

and it it it just amazes me you know

57:59

you know Gilbert you get in front of audiences

58:01

you play in front of 50,000 75,000 people a

58:03

million people a hundred million people You

58:07

know and you just don't think of

58:09

it. Yeah, you're scared. You're shaking, but you ain't showing

58:11

it You know that's that's what we do But

58:14

I mean one day you're in South Philly playing the

58:16

trumpet and then you suddenly you're fighting a sea monster

58:18

with Walter And Peter Laurie

58:20

right? Not only that getting on a horse

58:22

the only horse I got almost at the end of the street for a

58:25

dime you Should

58:27

take acting lessons when yeah, I'm a career star.

58:29

Yeah, I really came to New York here And

58:31

I saw yourself into it fella by the name

58:33

of win handman. He was a very good Teacher

58:36

as a matter of fact he he taught red buttons and

58:38

a lot of a lot of the big and then when

58:40

I went out to Hollywood and it started doing a lot

58:42

of pictures I studied at Columbia

58:44

so yeah, and I heard Vincent

58:46

price didn't like dr. Goldfoot. Is

58:49

that right? Yeah, I don't know

58:51

See now I'm letting you know. Yeah. Yeah,

58:54

I wonder why I mean he had a

58:56

lot of fun doing it We were up

58:58

in San Francisco doing it That

59:00

was a cute little pitch. I'd loved working with Fred

59:02

Clark. Wow is he terrific? Another

59:05

funny guy. Yeah, you also cuz

59:07

you mentioned it before I Kind

59:10

of wonder if you worked with him to Edwin's

59:13

son Keenan Keenan yeah, you

59:15

worked with Keenan Keenan We did I think

59:17

bikini Beach or one of them you know

59:19

where he played the the old guy Is

59:22

that what are these kids? No, what are

59:24

they doing? He

59:27

was always a fun actor. Oh, yeah very good. I

59:29

like him in the great race with Tony Curtis Jack

59:32

Lemon You know you see some of those

59:34

old black and white pictures that he was in as a

59:37

real good actor very serious actor And

59:41

about he's you since you mentioned Ernie

59:43

Kovacs and we Gilbert and I know

59:45

very little about Ernie Kovacs We haven't had anybody

59:47

on the show. Well. I don't think too many

59:49

people really know about Ernie Kovacs including myself I

59:51

mean I've worked with him and of course you

59:53

do scenes with him and all this other stuff

59:56

I played his nephew in the

59:58

picture, but you know he was quite the

1:00:00

gambler and

1:00:03

if he wasn't on the set doing scenes

1:00:05

he was in his dressing room playing

1:00:07

gin with some heavy players

1:00:10

they were playing betting some big Mervyn

1:00:12

LaRoy the director these guys you know

1:00:14

and he would we'd have

1:00:17

to wait for him to you know finish

1:00:19

a game or something to get out of

1:00:21

his dressing room I just got a flashback

1:00:23

what's that there was a TV movie about

1:00:25

Ernie Colfax starring

1:00:27

Jeff Goldblum and

1:00:32

what's her name from Cloris

1:00:35

Leachman as his mother hmm

1:00:37

really yeah I didn't

1:00:39

know Cloris Leachman played his mother I remember

1:00:41

yes Jeff Goldblum playing Ernie Colfax yeah well

1:00:43

the worst passed away soon after you made

1:00:45

that picture what happened was this I was

1:00:47

out promoting for Columbia say sailor crooked ship

1:00:50

was the name of the film and

1:00:52

while I was out there doing television

1:00:55

doing radio promoting the picture I had

1:00:57

gotten the word that he was in

1:01:00

a car accident died on

1:01:02

Sunset Boulevard in the rain

1:01:05

he was driving his Rolls Royce and

1:01:08

lost control hit a tree or pole

1:01:10

and was killed yeah

1:01:14

yeah great talent great talent he

1:01:16

was he was one of those

1:01:19

that's always credited for

1:01:21

realizing stuff is on film

1:01:23

and you can do

1:01:25

tricks you could do things that you

1:01:27

can't do in vaudeville yeah well he

1:01:30

he was an innovator I mean you know a

1:01:32

lot of the stuff that's developed through the years

1:01:34

you know he did things you

1:01:37

know silly things but there were brilliant things

1:01:40

dripping water things and music

1:01:42

to come I mean you know

1:01:44

my Roby trio yeah yeah he

1:01:46

was brilliant other other performers were

1:01:48

just doing film stage shows right

1:01:51

he took advantage yeah yeah he he

1:01:53

he was big in television he was

1:01:56

another philadelphia he was from Philly started

1:01:58

at one of the local television

1:02:00

stations and then developed and went on

1:02:02

to big networks. And you worked with

1:02:04

Bob Hope? Oh yeah. Yeah.

1:02:07

Loved working with Bob Hope.

1:02:10

Did a picture called... I'll

1:02:13

Take Sweet. I'll Take Sweet, yah-yah-yah. That

1:02:17

was the theme song. I'll Take

1:02:19

Sweet and yah-yah-yah. I'll Take Sweet

1:02:21

and Home, Sweet Home. Yeah,

1:02:24

but he was a great guy.

1:02:27

When we did that picture, what

1:02:29

really was neat about him that I think

1:02:31

about, first day of shooting, everybody's uptight. I

1:02:34

don't care who you are or what you

1:02:36

are, but you're in the makeup room and

1:02:38

you're getting made up. I

1:02:41

was getting made up and Hope walked in

1:02:43

and next chair over, he's getting made up.

1:02:45

He talks to everybody and tells a joke,

1:02:47

this and that. And he

1:02:49

looks over to me and then

1:02:51

he says, Jesus, I'm really nervous

1:02:53

today. Gee, the first day I

1:02:55

get so nervous... He was trying

1:02:57

to relax me and who

1:02:59

else, you know? But he wasn't

1:03:01

nervous because he was Bob Hope, you know?

1:03:04

And every shot that we did, the opening

1:03:06

day of today's work, he

1:03:09

would get in front of the crew

1:03:11

until at least two to three jokes

1:03:13

and then start shooting. Oh

1:03:16

wow. Now, I have to get

1:03:18

to this because I get to this on just

1:03:20

about every one of my podcasts. You

1:03:23

worked with Cesar Romero. Yeah. Yeah.

1:03:26

Watch it, Frankie. Okay. Here's

1:03:30

the story I heard about

1:03:32

Cesar Romero, legendary song

1:03:35

and dance man and Latin lover, that

1:03:38

in person he was gay and

1:03:42

to quote Jerry Seinfeld, not that

1:03:44

there's anything wrong with us. But

1:03:47

I heard the story that I

1:03:49

heard was that he

1:03:51

would gather like these young boy

1:03:53

toys around him and he'd

1:03:55

pull down his pants and underwear and

1:03:58

have them all fling. orange

1:04:00

wedges at his ass i

1:04:03

wish you could see frankie atlanta's face folks which

1:04:07

we are we're making that uh... i wish we were

1:04:09

on video tape i'd be

1:04:11

honest adam west the same question

1:04:13

the only argument i've gotten some

1:04:15

people say it was trapped tangerine

1:04:19

you know what i i've never heard that honestly

1:04:23

i mean i worked with him i

1:04:25

did uh... the sergeant deadhead i did

1:04:27

uh... i don't have any pictures

1:04:29

with them to do a force to do that but

1:04:31

uh... you know i heard that he

1:04:34

was gay died never saw anything anything

1:04:36

at all and never saw any young

1:04:38

toys around nothing like that as

1:04:40

a matter of fact we went to a a strip

1:04:42

joint one time with arnold stang hahaha

1:04:47

buried the lead for a yes-ter in

1:04:56

citrus fruit makes

1:04:59

sense tell

1:05:04

us a little bit about your uh... your part in

1:05:06

casino and working with scores a c

1:05:08

and the narrow that had to be uh... what

1:05:10

what happened was this uh... but it was a

1:05:12

weekend it was like uh... friday or saturday and

1:05:14

i was at home with my wife and kids

1:05:16

in the phone rings and my

1:05:18

wife uh... comes over to me she said

1:05:20

it's for you it's a bobby deniro she

1:05:22

didn't no ship faces

1:05:25

a guy from south philly you know is yet

1:05:30

so i get on the phone he says if

1:05:32

ronnie we're doing this picture and you were the

1:05:34

first guest on lefty show when you know marty

1:05:36

likes to be right on target with the reality

1:05:38

of but he said would uh... you

1:05:40

come in and do that scene that you did because we

1:05:43

have the tape of that uh... when you first did it

1:05:45

i said uh... when you want to do any said house

1:05:47

monday i said i'm off so

1:05:49

i flew in and uh... i

1:05:51

sat with marty uh... scores a c

1:05:53

and uh... i looked at the film and

1:05:55

word for word i did exactly what i

1:05:57

did on the so it's not what ace

1:06:00

rostein was based on yeah right and

1:06:03

uh... denier all uh... very

1:06:05

much into his character uh...

1:06:09

when we were shooting uh... all day

1:06:12

uh... it took us about twelve hours and passion i've

1:06:14

been friends for a long time the passion was waiting

1:06:16

for me so we can get some meatballs joe pig's

1:06:18

picture so uh... as

1:06:21

i'm working with the narrow you know he's

1:06:23

very much in the camera he says rakim

1:06:25

there's cameras all over marty's got cameras up

1:06:27

there this that whatever so he's

1:06:29

filming us from all angles is okay so

1:06:32

uh... only wanted to talk

1:06:35

to me about was hasn't that for

1:06:37

the chill uh...

1:06:40

i was yeah she's great you

1:06:42

know she

1:06:45

still married her only

1:06:47

one of the no one was in that you know he

1:06:49

must have been a fan of the most of it yeah

1:06:53

or or just a bit of a fan of the mouse cat

1:06:55

ears good were probably yeah can you

1:06:57

do an imitation of either martin scorsese

1:06:59

or robinson no no i can't no

1:07:01

can you now i've been sometimes they

1:07:04

do martin scorsese the man does i

1:07:06

mean we go see is yet another

1:07:08

yes and can that when and

1:07:11

then you have to have you written a memoir you gotta

1:07:13

write a memoir gotta write a book so

1:07:15

many stories hocker i go on forever as

1:07:19

it occurred to you have you thought

1:07:21

about it uh... that times yeah you

1:07:23

know that there's so many different aspects

1:07:25

of thank god uh... uh... long lasting

1:07:27

career we

1:07:29

talk about movies or but i think even people would

1:07:31

be fell over the idol makers stuff and then that

1:07:33

that that holds that and and i

1:07:35

think you're mentioned the fun pronounced

1:07:38

c that

1:07:40

i'm i can't even say

1:07:42

pronunciating it correctly

1:07:45

that your are mentioned in the wu

1:07:47

tang clan you got it moore

1:07:51

tan clan which is a it's a it's

1:07:53

a it's a hip-hop rapper that mentions you

1:07:55

in one of their lyrics over yes i

1:07:57

mean that shows how you're still relevant Well

1:08:00

good. Today you are. Well

1:08:03

that's very nice. I mean, you know, I'm

1:08:06

a guy that I don't watch much television.

1:08:08

I go to a movie now and then,

1:08:10

whatever. You did American Idol a couple years

1:08:12

ago. Yeah, yeah, that was fun. But,

1:08:15

you know, we'll

1:08:17

go out. My wife and I will be

1:08:19

out and there'll be somebody and she'll say to me, I

1:08:21

don't know who that is. No, I don't. She

1:08:24

said, that's a big star. I said, I

1:08:26

don't know. I'm sorry. And they'll

1:08:28

come over to me. I ain't frankly worried. I'm

1:08:30

a fan of this or that, whatever. It's really

1:08:33

nice. But I don't know a lot

1:08:35

of the people today. It's been

1:08:37

a journey though, Frank, huh? Sure

1:08:39

has, yeah. From crashing a party

1:08:41

at Al Martino's house to working

1:08:43

with Keaton and Lucy and John

1:08:45

Wayne and Groucho and Keaton and

1:08:48

I said Buster Keaton. And

1:08:50

Bing Crosby. And Crosby. I mean, do you

1:08:52

pinch yourself? Oh, God, yeah. I

1:08:55

mean, yeah, just in awe of these people,

1:08:57

you know, to work with Bing Crosby. Wow,

1:09:00

what a thrill that was. He,

1:09:02

he, you want to talk about a

1:09:04

master. We had been, he had

1:09:06

a television show and I was with Vicki

1:09:08

Carr. We were playing Young Marries. And

1:09:12

after one of the takes that we did,

1:09:15

one of the producers came up and said, Bing, you know,

1:09:17

we got to do this PS spot. The

1:09:20

public service announcement there. And

1:09:22

they had the cue cards, you know, and he said,

1:09:24

OK, let me see it. And they put up the

1:09:26

cue cards and the camera on the side of the

1:09:28

camera and he went, OK,

1:09:32

take them away. All right,

1:09:34

Bing Crosby here. Well, now I want

1:09:36

to say this. And he started

1:09:39

to do word for word. I'm saying, look

1:09:41

at. So I said, Bing, you looked at

1:09:43

it once and you just did

1:09:45

the whole thing. He said, well, well,

1:09:48

when you get to be doing as long as I am,

1:09:50

you'll do the same thing. Not,

1:09:53

not really. Wow. He was. And he

1:09:55

does Bing too. And

1:09:58

there's one other action. I

1:10:00

had to bring up who's known primarily

1:10:07

Another actor who's known primarily

1:10:10

as Jerry Seinfeld's uncle Leo

1:10:13

and that's this actor Lynn Lesser

1:10:16

I don't know if you remember him at all.

1:10:18

Oh, I think he was in a couple of

1:10:20

the beach pictures You know what? I do remember

1:10:22

him. He's a neat guy. I think Kelly's heroes

1:10:24

a clitheswood picture He's pretty prominent in that picture.

1:10:27

Yeah, but he he was in a

1:10:29

picture we did called fireball 500. That's

1:10:31

right I played the Dave Owens

1:10:33

the fireball it was and he yeah,

1:10:35

he was in that picture. Yeah, I

1:10:38

remember him Yeah, you know who was

1:10:40

another wild guy actor? Timothy

1:10:42

Carey. Oh sure. Oh, yes. Yes.

1:10:44

Oh Ate

1:10:46

from the wild one Yeah,

1:10:49

and the one with Kirk Douglas the

1:10:51

World War one movie Oh pass the

1:10:53

glory Well, you do

1:10:55

know your pictures don't you well, I was

1:10:57

sure I researched the game Wow convicts for

1:10:59

with Ben Gazzard That's right. He was in

1:11:01

but what was the one where where the

1:11:03

roach was it wasn't that? Where

1:11:05

he was in the jail cell and he

1:11:07

smacked the road. Yeah, I'm trying to think

1:11:10

of which one that was Yeah, very odd

1:11:12

looking Strange area range guy. Yeah strange guy

1:11:14

and we were doing one scene and one

1:11:16

of the beach things and he played South

1:11:19

Dakota slim Minnesota fat South Dakota

1:11:21

slim. Come on, boo-bye And

1:11:27

we were doing this one scene and bill asked our director

1:11:31

All he had to do was open the door and everybody

1:11:33

would go down this little shoot, you know But

1:11:36

he went he jumped up the bubbly Cut

1:11:39

bill would say Tim

1:11:42

we don't need all that just open the door the gag

1:11:44

is the fall down there, but he will

1:11:47

Okay, and action Bovine

1:11:51

He wouldn't have said he had to let him go and it

1:11:54

really made the scene I think you know cuz he's

1:11:56

stuck to his guns there. Yeah, then Brando used him

1:11:58

again in one eye jacks the one

1:12:00

picture director he he he would come

1:12:02

in and tell us strange stories about

1:12:04

his wife having a baby in he

1:12:07

delivered the baby and bit off the umbilical

1:12:09

cord and i mean it's uh...

1:12:14

well this has been

1:12:16

gilbert dot freeds amazing

1:12:18

colossal podcast with my

1:12:20

co-host frank santo padre

1:12:23

and i'm gilbert dot freed thanking

1:12:25

my fellow uh...

1:12:27

teen idol uh... frank

1:12:31

is a little of the program uh...

1:12:33

no no let me see what am i

1:12:35

know i i'm with the golden boys dick

1:12:37

foxes golden boys and you know it's bobby

1:12:39

right down in fave una myself and we

1:12:42

do uh... about fifteen twenty concert a

1:12:44

year and i'm still out there myself i still

1:12:46

do that i've got a book coming out that

1:12:48

not about my memoirs are when it that but

1:12:50

it's a cookbook because i'd love to talk and

1:12:52

uh... it's for saint martin's

1:12:55

publications so that'll be out pretty soon

1:12:57

now and you told me that former

1:12:59

teen idol bobby right down doesn't imitate

1:13:01

all of the you does

1:13:04

lines jokes and everything and he's perky got

1:13:06

on on the show i have to work

1:13:09

out i gotta hear that that i gotta

1:13:11

hear bobby right now i'll tell you what

1:13:13

one of the most talented guys funny

1:13:16

guys i mean he does it all

1:13:18

i just love bob right now is

1:13:20

it real dear friend it's

1:13:22

been great for a decade thanks for a great thing over still

1:13:24

handsome post-it

1:13:30

and versatile and versatile and

1:13:33

a guy who can challenge me to

1:13:35

a legacy of education and

1:13:38

he confirmed the cesar amara

1:13:40

story right yes he

1:13:43

was there frankie

1:13:45

avilon was there when cesar

1:13:48

amaro had orange wedges long

1:13:50

at his ass he

1:13:53

was there ladies and gentlemen thank

1:13:55

you thank you thank you over a year