Speaker Actors talk about the craft of directing your craft. Is what’s the point?
Speaker Well, a. I was I was. It was so much before I became a director. I did you dream about the Suzi Parker stuff that was that was more a caper than than acting.
Speaker You know, I got these. He gave me jobs to do, like during the. I’ve never seen a fashion show. And they’re hilarious. And my job was while sitting in watching the fashion show next to Susie was to disrupt it. So I. I had a lot of fun. I dropped cigarettes all over the floor and the models came to hate me. And there were there were also dresses have names where you know, all this. But I didn’t have one dress. I still remember I was called Soire Ray. Oh, Biff Everleigh Ilves. And that was enough. That allowed me to disrupt it further.
Speaker But he always and during all those pictures, he gave us jobs like that.
Speaker And all I remember about the whole thing was laughing moderately, laughing so hard that Marvin Israel at one point had to run down the hall because he was peeing to get to the bathroom in time. I think you made it. I think that you couldn’t. I think directing is so different for what Dick does.
Speaker From what I do that I don’t think of it all that similarly, I think that the Dick’s gift, which is very complicated and very simple and has to do with his vitality as well as his. I think that his great gift with people is that he brings so much energy to it and some.
Speaker New cheese and the caviar and the champagne, and on the way over there, you’re going to stop at this amazing place that he’s just discovered and then he has the joke that you haven’t heard yet. He has.
Speaker He’s forever. Astonished by life. And that then that does something to people. You have you have a good time. And I suppose I mean, because I’m not one of the slow eyed, dark poetic people that he does. You know, the other kind of picture of I suppose he does something else for them. No. So I haven’t seen that. The startled deer in the fern. Look, I suppose, but I bet you that also comes from whatever is on the high five and and whatever Dick is yelling from behind the camera because even even the deer in in people that that he sometimes photographs are. It has to do with vitality. You know, nobody’s ever asleep behind that camera.
Speaker Can Suzy Parker tableau of scenes to any memories about how do described it to you? What each scene was supposed to be? Just the whole idea of things and how it developed.
Speaker But we all once he. Whoever thought of the gag itself, I don’t even remember. But once once there was the gag of Suzyn, me as a kind of Richard and Elizabeth that we were appearing shooting Napoleon and Josephine, that we had this tragic ill fated romance. And we were caught in small, separate clubs all over Paris and coming out of Maxime’s and so forth. We didn’t have a lot of talking we had to do because the gag, the cliche was so clear. The Burtons were all over Europe during this. And I had being a friend of theirs, I had been embroiled in it a little bit and stamp been there while Elizabeth was stampeded and everything and seen people knocked over and seen this madness, which now is is sort of professional madness. You know, if you were we went with a picture to the Venice Film Festival. This sort of the scream by rote. Now, when the when the movie people come in. But at that point, they were just still putting together this idea, pop for Rothesay and so forth, and chasing people and cars and hounding them in restaurants.
Speaker And it was. It was relatively new and appalling. So it wasn’t hard to do jokes.
Speaker Gather, there are moments like that to calm the crowd. We’ll tell you that.
Speaker I remember something coming out of Maxime’s. I remember that it got fairly wild. That’s not faking. I mean, look look very unhappy coming down the stairs there. And indeed, I was.
Speaker I think it became real insofar as that there were sometimes crowds and screaming reporters and so forth. The genesis of your friendship.
Speaker Do you remember how you first met? Take off his lover.
Speaker I do remember oddly, you know, how you mostly don’t remember how you met your old friends.
Speaker I do remember because we we got together working on a TV show called The Fabulous 50S. I’m sorry to say. And it was the show was in 1960. It was a look back and Dick who had seen Elaine May and me in a knife fight, The Blue Angel. I get asked whether we wanted to work on this piece with Marilyn Monroe for Marilyn Monroe on Marilyn Monroe. And we said, sure, because I knew her a little bit. She was in my acting class with Strasberg.
Speaker And then that fell through.
Speaker Of course. And then it became Susie that we worked on and then Elaine and I did a piece on the show, too, which was oddly enough, about Charles Van Doren, newly remembered and working on the Soozie piece. Decorous, dark. He was funny and. And he had all these goodies, places to go, things to do, new things to eat, things to see. And I remember that I went not long after that.
Speaker I went to Jamaica with him and every his wife and I had a great time and and learned about all these places and things that I didn’t know about Jamaica and Venice and Roven and.
Speaker And hiring cars and drivers for the night. And and Dick’s version of The Good Life, which is always. Centred on something serious, something good that you want to see. Something some play. Production of a play in Stockholm that you just have to see. Some bistro where they cook, Lou, better than anywhere else in Paris. And it’s true. And they do. And and laughing all the way. And that was.
Speaker Elaine May and I were just.
Speaker We had just come to New York and we were at the Blue Angel and we were on television.
Speaker We were on Broadway and all that all happened to us very fast. Maybe it was. We took about three weeks for us to be famous in New York because of TV. And we were a little startled. You know, and people was suddenly interviewing us everywhere and saying, how does it feel? Of course, the truth was there wasn’t you didn’t feel like anything. But we knew that wasn’t acceptable. We soon learned that you couldn’t see it. So we said it’s wonderful. It’s everything we ever hoped. We’re happy all the time. But. But Dick was was a very good friend soon because. He new places to go and things to do and ways to have fun that didn’t have to do with interviews and dinner parties and all the things that were really terrifying us. You know, I remember my wife and I went to a restaurant that everybody went to all the time called Muchos. And there was Leonard Bernstein with Phylicia Barnes. And we didn’t know. And he waved and he said, come to the vineyard. And I said to my wife, What’s the vineyard? You know, it was it was still very early. We had just gotten to New York.
Speaker And then we you know, it all changed, obviously, but. But Dick was more about.
Speaker Places and people that.
Speaker Were quieter and and truly fun, more than like 20 people at a dinner party. It was for people, it’s some weird restaurant that only he knew how to find. And that was that was very nice. That was a very nice way to learn about this New York. I’d been in various other New York’s M-2 to become good friends, as we did with Dick and Beverly.
Speaker This interview done on your every day together in all areas and one of all the layers, and after he was struggling, it was like a global conversation to.
Speaker Talk to find out and talk to Dick about what he felt with the core similarities in both of them, put them together or just similarities, and it provoked pretty interesting conversation. Are there, of course, similarities between your acting?
Speaker They have made the friendship as well and as a lasting. They certainly are. It’s not easy to put your finger on them.
Speaker I think that that. I think that we share a love of people and a very cold.
Speaker You know, I think that the.
Speaker But we found over the years that both are.
Speaker It’s something that I’ve had to fight and I think this summit with some success.
Speaker And I think Dick, too, in different ways.
Speaker Because, you know, you do those things so personally and individually, but I think that that we both have a very serious mistrust of people that has to be gotten around and takes a long time.
Speaker I think that we both think things are pretty funny. A terrible and funny.
Speaker I think that we both. Like to hear the truth even when it’s not good news, because it’s still a best friend we have. I mean, we all of us. The truth is still the most useful thing around.
Speaker Dick tells the truth when he comes to see something you’ve done.
Speaker He’ll say it was good, it was all right. The women were wrong.
Speaker I know those women and they’re not A, they’re B.
Speaker He’s very loyal.
Speaker To his friends and loved ones and family. But that loyalty is hard won. You know, there’s not a lot of people to whom he’s very loyal. He’s tough. I think I am, too. And he.
Speaker In some strange way, strange, I say strange because he is so good at having a good time and helping other people have a good time where Dick is, there is a good time. But I think that in the end, he cares about work first.
Speaker I don’t think that’s ever forgotten. And I think you see it in my work. I think that’s the way you get work like that. I don’t think it happens. You can’t sort of jump in and out and dapple, find yourself and feel things and rush off to have experiences, interpersonal, and then come back and work again.
Speaker You either do it all the time and put it first, and then that’s what you see in the world or you don’t. I think we share that.
Speaker Talk a little bit more about that. See why?
Speaker Funny you say, I’ve said a number of people spoke about this bridge, contradictions were here because he has such. Enthusiasm because she never loses it, even when he is down. He thinks he’s down, but he has still volumes, more enthusiasm than anyone else. And he. When he admires something or someone, he’s theirs, you know, Fred was Fred. You know, we all admire Fred. Fred was beyond criticism. But Dick knew what to do with Fred. That’s the difference. You know, he he was able to contribute to that movie, Funny Face and to ego. Fred don’t need any help but to but to add things.
Speaker To say what if that’s the difference, Beckett.
Speaker You know, the surprise is back. Of course, it’s always the same thing. I met Beckett because I did Goodo once and the thing was to me before, I didn’t play. And he’s a he was a really friendly, warm, nice guy. He wasn’t Beckett, you know, that’s that’s his bone structure. And he I only he said, do you have any questions about the. Oh yes. One. What is the tune to the song. Dog one in the kitchen. And he sang and he cracked himself up singing. Singing with song. Dick has some of the same. Combination of of despair and amusement, austerity and gregariousness. All the interesting ideas are two opposites held in suspension because otherwise they die very fast. And those opposites and Dick are what make him endlessly alive and pleasure as a friend. But more of course, they wouldn’t make his work not only alive, but.
Speaker Absolutely in the present, always. I don’t think that’s true of many people that their work is. Right now, they’re not even interested in last year, much less 20 or 30 or 40 years ago right now. Who is this? Where in what world now? And I think that because Dick is these contradictory things, beautifully held in suspension with very with great economy. Right. There’s no waste. He doesn’t run his motor races moaner. He doesn’t. Waste a lot of his.
Speaker What his personality. Wondering what does it all mean? Because there’s so little waste. Because these opposites are because neither of them ever dominates. Neither the despair nor the laughter.
Speaker What he does. It’s happening right this minute. And because he’s capable still and this is the hard Islamic terrorism.
Speaker To get to beginning on, enthusiasm gets harder and harder because you’ve seen it, you’ve seen everybody, you’ve been them, you’re tired of being them. But Dick does not have that problem, Dick. She’s everything and everyone fresh every day. And that’s why his work is fresh every day. He thinks when he thinks he’s blue, he’s still you know, he’s still got so much more life and joy in him than than most people when they think they’re happy.
Speaker Is there a particular point for in it on these kids? We’re talking about that word.
Speaker What’s the word contradiction? I would say all of his work. That’s the thing. You know, that that it’s not like my problem with painters always is like 1921 to early 1922. And then I don’t like it so much anymore. So in so 1895 and before after 1895, you’ve lost my buddy. And, you know, nobody likes this in themselves. I don’t like making these distinctions, but we sort of tend to. It’s very tough with painters that you love because they stopped doing your favorite thing. They go on something else. And if you could say to them, could you possibly go back, just do one more of those. They can’t. We can’t. Decant. But I don’t have that feeling. Oh, if only we could have done VEMA. The elephant again. First of all, she’s still there and so’s the elephant. But secondly, the tension and the contradiction and the the. The fact that what he sees is unique and start forever startling. I think that’s in everything he does. That’s one of the reasons he’s great.
Speaker It’s not this great period. And then he falls down for a while and there’s just nothing that interests you. And then he manages it. It’s always it’s like that. People say that about Picasso. Well, that’s not my experience of Picasso, because I do my thing, too, because I say when I’m 21, you know.
Speaker And then I really don’t like the thirties. And you could have done without her. You know, why did you paint her for a year? And we have to have that. But that’s. That’s someone who was, you know, changed so radically and was so protean, he became like five, 10 different painters. Seagal took one Picasso painting and made a whole career of that one thing that because it threw away Dick keeps changing. But he also, you always know instantly who took that picture. There’s never any question who did that. You know who’s ever asked that? You just don’t. And that’s. So for me and for me, it’s all the pictures.
Speaker Try to define for you what that signature is, sort of the quintessential qualities that Abbadon picture. Make it unmistakable. What I did for you.
Speaker He’s inside and outside. At the same time, you see it with certain actors. That. Good actors know that you can’t come to a conclusion about your character. Because then it’s not alive. It’s not interesting. You can’t. You can’t make a case against your character to make the best case for your character. But the very, very best of them can be inside and outside the character at the same time. They can both be saying, do you ever feel like this? Like I feel. But they can also be saying, do you also know somebody who does this? You can do both. And Dick is a master of doing both. He is. People are wrong. People it’s funny how tangled everybody gets over something that has only implicit content. And they they go after it and they go on about it as though it work, specifically expressing something because it isn’t us.
Speaker We’re just talking about us. But even something that’s very much a judgment like the Winsor’s. Also, from the point of view of the Windsors, too, you also think must be tough, must be tough. Nothing in your life except appearances, a lifetime of appearances.
Speaker It’s not only. Look, look how old. Look how tired. Look how empty. No. It’s from our point of view and from their point of view simultaneously.
Speaker And. I think that I think that’s him. I think that there’s compassion and a coldness of. Not judgment. I can’t find the word because he doesn’t judge anyone. But eight of observation. A heartlessness of observation and a heart that feels. For the person. And I think that’s really in everything that he does.
Speaker To pick up on the friendship, the singular qualities of Dick as a friend that Andre was talking about his. Real ability to focus on a friend in crisis. Perhaps even more so than the day to day as it was going on about that. And I know that you mention in the public library that there was sort of a critical moment in your life that he was there.
Speaker Why do you think it was?
Speaker It’s exactly them over. You’re describing. I had it. I had about now it’s about eight years ago. I had a depression that was caused. Unknown to me or the doctors who gave me the sleeping pill by a pill called Halcion, a sleeping pill. And they gave it to me. And I took it for a while and then took it for a while longer. And then I was nuts and and very depressed and I couldn’t come out of it. And various friends did various characteristic things to take it.
Speaker Me. I remember you gave over to where I was living. And he made me go for a walk. I didn’t want to go in the street or anything. We were walking along.
Speaker Well, the sun came this whack on my back quite hard. And he said, snap out of it.
Speaker And he would. But it’s not as though he didn’t check every day or two because he did.
Speaker And it’s not as though he didn’t.
Speaker Stay in there with me. More than anyone, practically among two or three closest friends.
Speaker He was there all the time. But he also slugged me and said, snap out of it. He just had very little patience with clinical depression. Of course he’s there. That’s what he’s about. That’s what he’s for. He’s there and he’s there and he’s tough, which is, of course, the best thing you can do for a friend in trouble. And there’s no point just all joining together.
Speaker He he’s got job assignments, you know, and you’ve got to make your bed shipshape and you’ve got you’ve got manoeuvers and and you’ve got to drill at 7:00 with the rest of the troops. And he’s got a lot for you to do. But he just always does anyway. He’s he’s the the games master. Everybody on deck for exercises. And then we’re off to see. No luck, sir, or whatever the hell it is.
Speaker And then there’s this place high in the mountains that you can only walk to where this this one special, Crohn is making a dish that only she knows how to make.
Speaker And then right after that, you’ve got to come and you’ve got to see a certain harbour. That’s that’s unique because the light is east, west instead of north, south and so forth. And that, of course, is is it’s a great friend to have, especially if you’re like me.
Speaker You know, I’m just wherever I go, I lie on the bed and read Time magazine. You know, that’s my idea of a vacation. I don’t want to see anything.
Speaker I don’t want to do anything. The very first. This is interesting to me. I I started out I am an ear, not an eye, and it’s from knowing Dick that I understood something, which is that if you have a good ear, you never learn anything or forget anything about it. You just have a good ear. You hear what’s mostly you hear what’s happening. But an eye is. And the cruel of various things that you and others have pointed out. Somebody says, do you see how the thing echoes that thing? And then you say, Oh yeah. Then you always have that. Then somebody else can add something and somebody else can add something. And seeing something else, you add to your. You build what you see. The first I was never interested in looking at anything in my whole life. I used to tear ass through museums beyond boredom.
Speaker And sometime in the 60s, early I went I was traveling with Dick Enova. We were in Venice. They took me to Ravenna to see the mosaics of Justinian and Theodora. And they were the first thing that I ever looked at that ever stunned me to look at my state. Most of the day looking at.
Speaker And that was in a weird way, it was the beginning of my looking at things, and then not very long after that, I started directing movies. Good thing that I started looking at things and I continued. And it’s still it’s my newest sense. It’s the it’s the greatest pleasure sensory of that kind that I have. Because that’s so new. Started my way after the rest of me. And in some ways, Dick was my guide in that there aren’t many people, you know, in your life. With whom you can refer to, whether it’s Mosaic’s should have been or the painting of DeAnda put in the bath or whatever it is that rocked you here or there. He started me on some of them. And that’s that’s a real gift, of course.
Speaker Most part doing all right.
Speaker Oh, that party. Well, it was it was just suddenly. I can’t even remember what birthday it was, but it was I was very young, middle 20s.
Speaker Is that possible? I guess so. And there was this this restaurant on 8th Avenue that we used to go to all the time. It was our favorite restaurant. It was it was just it was a special place.
Speaker And then. And then he gave me he and Elaine gave me this party.
Speaker And there were obscene fortune cookies that people had to read.
Speaker Mike Nichols is not only a great human being, he’s a great piece of that kind of fortunes that very I remember poor Mrs. Arthur Penn had to read that one it wasn’t all that comfortable with. And there were I can’t remember people sang songs. But the point is that then he and Elaine and and various others, led by Dick, stuffed cookies for a long time with these special dirty fortunes.
Speaker And then he went to quite a lot of trouble.
Speaker Everybody wants to travel. Larry Gelbart sent a telegram that was delivered at the restaurant that I have been trying to reach you all day. There’s a surprise party for you tonight at Food Shows Restaurant. And he he led everyone into something very sweet and made me very happy for years and years. That’s the only way you know that you’re probably OK. If you have friends who do that for you. I can’t be a total schmuck. But that is one that is the gift that you get from the deck over the years.
Speaker You think, how bad could I be? And I tell you what else about it.
Speaker It’s interesting.
Speaker It’s very steady. I’ve only had about maybe four to six lifelong friends, 30, 40 years of friendship, and they’ve all waxed and waned. Of course, you go away, you come back, somebody else goes away. But also you get you cool, you get actually pissed and then you have to come all the way around again. Sometimes you don’t speak for a few years, then you make. None of that. Just absolutely steady.
Speaker So always, my friend. I’ve always been his friend.
Speaker Jack has.
Speaker He has a place in your life that’s a little bit like someone in your family that you love. They can embarrass you and they can have barriers put in public.
Speaker And that’s a real test of your love because you have to love them more than the strangers in front of home. They’re embarrassing you and you do.
Speaker Oh, I can’t remember now. But he was funny.
Speaker I joked the other night I embarrassed him, actually. And he dealt with it very nicely. We went to some movie opening some tiny movie from some other country, opening yet another downtown theater.
Speaker It was friends of ours and all a bunch of us. And there were so few celebrities that the that the that they did it to me.
Speaker The camera people, you know, and what they usually do at openings is they they scream your name at you endlessly. And in my case they scream. Mike, Mike, Mike, Mike, Mike. And are mostly Diane, Diane, Mike, Mike, Diane. In this case, I was alone and it was just sort of it was very high toned opening. So they scream. Mr. Nichols. Mr. Nichols. Mr. Nichols. And I said, No, no, no, no. It’s gonna be Mike. Mike, Mike. When I did it, Dick.
Speaker Little worried and then walking away from it is that you’re becoming quite eccentric.
Speaker I don’t know. I don’t know. I don’t remember.
Speaker Well, there’s a couple of things I really can’t tell, but I don’t remember many times that he embarrassed me in public.
Speaker It’s that he is like somebody energetic in your family. He can be embarrassing.
Speaker He can be louder and longer laughing, more throwing things.
Speaker And it’s the very best thing for you to get over your embarrassment and realize that that’s who you were.
Speaker Funny snapshot flavor.
Speaker Are to tell me this is just an example of another horrifying thing of mine.
Speaker But he he and he stuck with me throughout I and didn’t abandon me. I don’t know what you want me to tell.
Speaker Some castle that he and he took me to London in England and in the castle that you know, those tours and were turned around and there’s some case was within the case was the handkerchief of the first Queen Elizabeth.
Speaker And I’m just as we passed, I opened the trophy cabinet and it was Okun’s.
Speaker I took blankets and I stuck it in my fly thinking, you know, that if the very worst happened, I could always say I just wanted it for a minute. But they went crazy. The next tour came running after us. And there was a lot of gesticulation and they were going to shut down the place and we panicked. So I just left an on table and the three of us took over and I ran and we’re told later by some English friend that I could have ended up in the Tower of London. Do you think that’s possible? No, because there are all these tours that don’t put you in the Tower of London anymore. Do it. Anyway, they said that, but.
Speaker But, Dick, ever it never occurred to them to leave me there or turn me in. They were with me.
Speaker This change.
Speaker My question is, what has changed to change?
Speaker Well, you know, glamour, I think for me. I like the John Law enormously. And he’s really good. And I know that Dick does. And I suspect that he’s sort of that we’re alike in this that somebody asked me a question. I don’t know what is it about? I just talk till I get to stop John Law. And then he wrote some of it down. I think Dick did the same. I don’t think that glamour is.
Speaker Much anymore. Even a useful idea. I think that there was a long time, especially for Americans, in which ruin had enormous glamour or the threat of ruin.
Speaker Obviously, you know, that’s what came and got Fitzgerald. And there’s this strange thing when you realize that there’s a lot of almost all writers really predict their own lives. Certainly Fitzgerald did. Hemingway did that. They predict them fairly accurately because in the end, it’s what they want. It’s their fantasy of ruin, of glamour. I think that I think another definition of glamour that that’s in both dicks and my work is something that by definition is already on its way out.
Speaker As you’re looking at it, one of the reasons great beauties in movies hold us is that they get only a moment.
Speaker It’s like all those fairy tales about the butterfly or whatever the hell it is that lives only 24 hours, that they have fairy tales about it. What is it some creatures in nature that get such a short time. And these ladies are not so much anymore now that the world is ending. People are not that interested in an individual movie stars at all anymore. But but until recently, when they were part of it was that they were it was so brief. It was such a gyp that they got nothing for it. It was for us. For them, there was only panic, emptiness, and then the loss of it. And I think that’s always been the sort of part of the subtext of what Dick did with these beauties. And in other ways, maybe me and my work, I don’t know.
Speaker Glamour.
Speaker Glamour is the prettiest gyp. It’s the thing that betrays everyone, isn’t it? But on the waves of the betrayal, there’s some very good times. And I think that has held a lot of people. It just does not anymore. I don’t think that’s happening now. And I think that that certainly Dick’s work left Glamour behind long ago, unless it’s the glamour of.
Speaker There forever, those people that.
Speaker That are most briefly at the center of what’s being photographed.
Speaker One of it is age.
Speaker I went to somebody at a friend’s birthday, a 30th birthday party, and there everybody was so pretty, so casually dressed. I thought where we like this. Is this what it was like? Well, when we were the people, I suppose we were I suppose it was like that.
Speaker But.
Speaker It passes so fast. And what comes after is really so much more interesting. I think there are people who were there who are their 20s in their 30s and their 40s, and then they sort of hang around taking intending them, you know, saying those were the days thing. Dick is very much the opposite. I think he’s forever. And the president, interestingly, when we think of him forever in the presence of a comic is.
Speaker I photograph wild animals to Fragos, which madness dance? My father arrows. Get out of hand. I think the photography is an area of protection from.
Speaker I think that.
Speaker Dick always grapples with whatever concerns.
Speaker I think most of us turn away from it, or at least partly away from.
Speaker And he walks into it. He goes right up to it and says, OK, what are we going to do about this? I think he does that with pretty much everything, whether it’s it’s water skiing, you know, where I get my trunks pulled off the first time when I sort of give up. And he goes on only it’s very good. That’s that. Or whether it’s these things that he says scare him and the ones he doesn’t say death and so forth.
Speaker He always looks at right in the eye, and since a great photograph had with all its other characteristics.
Speaker Has that one. I was talking about earlier that it doesn’t come to any ultimate conclusion. It never closes the issue. There are always things left open. Undecided. Not yet. Dealt with things for later. Things for us to think about. I think that’s his essential act.
Speaker Just to walk up to what gives him pause and say snap.
Speaker I just naturally asked, do you have any pictures on the walls?
Speaker Yes, I’ve had different ones, different times. I had easier Denison for a long time. I put his activism in a movie. His actions and shoes. And who’s afraid of Virginia Woolf? They stuck her up on their wall.
Speaker I had her of.
Speaker And I have. The father holding the kid up, which is a very important image for me on the beach. For a while, I had my nails and I didn’t have them up right now, then the most. Then he gave me a picture at Johnny’s wedding. It was so like he put a picture on your plate from the past and on my plate was me and John Avidan in the pool and John sitting on my shoulder and we must have been about seven and twenty seven, respectively. It was a tremendous shock at the moment of Johnny’s getting married. It was Bufe. I was very emotional about it because of course I forget everything I’d forgotten.
Speaker I forgot the pool. I forgot Johnny and me and him on my shoulder. I forgot Jamaica or wherever we were. I forgot all of it.
Speaker And I certainly forgot that we were ever so young. And it was very nice to be reminded in this moment that Johnny was starting his married life. And it was exactly like Dick.
Speaker So I look at that picture on.
