He's a legendary actor that has touched generations.

Robert Dovey joins me.

He gives his advice on this award season, the future of the Bond franchise, and did you know there was a connection between Frank Sinatra and a major Bond villain The Royal Grande Show.

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Robert dove is with me today, the legendary actor, singer, director from Goonies to Diehard to his recording career.

We discuss it all as well as the awards season, and boyd does he have some thoughts.

Here's my interview with Robert dove I want to talk about the Academy Awards this year and really in the last few years.

I know.

Wake up, Dobby, you're an Academy voter.

I am.

We need you to vote.

Last year, I'll ask you what one best picture last year at the Academy Awards.

Oh my god, I'm embarrassed.

Don't embarrass me, No, nobody knows.

Nobody.

I've literally asked this of about ten people this week, three of them Academy voters.

They do not know.

It was anora about the process, A young girl.

Yeah, who rush around with the Russian?

The Russian.

Yeah.

Nobody saw this movie, right?

I did?

I know?

You saw it because you get the DV deal they send you.

No, No, we have an Academy screening.

America didn't see it.

The world didn't see this movie.

I mean, well, the mistake they made.

Now it's ten used to be five and the all Americans and then they had the foreign entries.

Ten is overwhelming from all over the world.

So you can't how do you how do you gauge?

Yeah, it's like, let's have globalism in the Academy Awards, the American Academy Awards an art form.

I'm all for having a foreign They should go back to the five and only American films, only American films, and then have their foreign categories the best Foreign Film.

Right, that's great to have and then to have if they want to really break it down, an action genre, a woke genre, a conservative genre.

Let's break it down the way America is broken down, but I don't.

I'm not wild about that.

They did that at the Golden Globes where they're now doing it, you know, kind of the mass Audience Award and then best Picture stop stop.

The mass audience award should be the best picture, right right, you would think, yeah, but a look, everything has an agenda and I'm not in the hierarchy of the board of governors or whatever.

You know.

It's just it is a good organization.

It does a lot of things, and I'm part of it.

How to be part of it, but it's you know, I think ten films to get nominated, and it just became again a globalized version of what it is.

You know, I don't think what else should be changed?

What about those quotas for you have to have a certain number of minorities that started years ago.

You don't count as a minority if you're if you're conservative, you should.

I thought Italian or Italian.

You know.

Look, I was not unable to do Blood in Blood Out with Taylor Hackford because I wasn't Hispanic, but I was Hispanic.

I'm an Italian.

I mean, there's where is the you know, Eddie almost plays Italians and you go see it plays Italians, right, I couldn't play this guy that was the head of the law on the movement because I wasn't.

Who knows if I'm not Spanish.

My family was on the ships with Columbus da Ves with an accent over the eye.

Oh maybe you are Spanish, so there might be something in there you don't know.

But why should you have to submit a blood test to play a character?

I mean, you know, if you can play it.

I have no Palestinian, but I played the Palestinian.

I just did a film where you played a Jewish leader who rescued what three hundred year olds from Auschwitz.

It's yeah, Bardiob, beautiful movie, thank you away, beautiful perfection.

Yeah, thank you.

I'm proud of that film.

It's a great film.

It's a beautiful film, and it should have gotten more attention than it did.

It was produced by a ninety year old Holocaust survivor who lived in that town of Bardiob.

Wow, you said you were blacklisted and that there's an ongoing blacklist.

Really since your support a President Trump and what twenty fifteen, is that ongoing to some extent, Yes, it's still ongoing, but I think it's it might be lightening up.

I think I don't know, and it's among certain elements of the industry.

In other words, you'll never know exactly where the button gets pushed, but there'll be you know, many times my manager will say, hey, they're interested in you this, interested in you for this, and then we're waiting for an offer, and then he goes they said, sorry, it's not going to work out.

So what happened was what we suspect is it goes up the flagpole to somebody and then all of a sudden it gets wiped out.

But it absolutely is because there's no reason for it.

You know, there's no other how many projects in the last two years, say, do you think you've lost to this?

Oh, you can't tell.

You don't know.

No, there's no way of knowing.

There's no way of really gauging that because because some offers you didn't even hear about.

You don't even hear about, you know what I mean.

Did executives approach you during the last election about Kamala Harris, something about Kamala Harris that if you came out and supported Kamala Harris.

Yes, yes, yes, yes, that happened.

Also in twenty to fifteen, twenty sixteen.

No.

In twenty sixteen, some execs came to me and said, hey, if you now support so and so, name your ticket.

And that happened twice two different elections.

Wow.

Yeah, it's a good time for you if you want to you know, I says, why would I do that?

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Why do you feel you have to be so outspoken?

I know you get upset with the closeted conservatives out there who have beliefs but won't say anything.

I do because if they and there's some powerful ones, and if they did come forward, if they had the courage to come forward, it would help many others that are closeted.

And the reason why, for instance, I'm doing this comic con right now, I can't tell you the amount of people that come up to me go I follow you on X thank you so much.

You're one of the few people.

And so there are people like that, Raymond, that I feel that I knew growing up.

Remember as we were fans of Sinatra if he liked someone, you had a little bit of influence because of your respect for him and connection and his connection to him and his outspokenness.

So celebrities do have even though they want to say celebrities have no, they do.

They have some kind of effect in the younger generation, in people that are influenced.

And I felt that.

I says, if I'm going to keep myself quiet, then there's going to be people out there that are going to feel even more isolated.

And that's why do you think celebrities, I mean, this is my take.

Tell me if you agree with this.

Celebrities normalize things in the wider culture.

Whatever it is.

Could be a lifestyle, could be a drink, could be a facial treatment, could be political point of view.

Yes, you will, because you loom so large in the culture.

If you say it, it hits differently and wider than if the grosser on the corner of the guy who's making shoes says, yeah, you have a bigger platform.

You know, you have people that say him and I followed you since I was a kid.

You were the first film I watched in the movie theater, whether it's a Goonies or Bond or Diehard or anything else.

Right, So there's a connection emotionally to people's childhoods and then their family experience.

Now, some artists will tell me, and I've had them tell me, look, I don't want to disturb that art and their reaction to it by bringing my personal views, my politics into it.

You don't feel that way, No, I understand it.

I understand because sometimes you'll get a feedback.

Man, I was a great fan of you.

As I'm so disappointed, I says, I'm sorry you're disappointed.

I says, it doesn't change my work.

And I don't think anyone, you know, as looking as opposite ends of the spectrum as I am.

To Robert de Niro, I'll go see a film that he's in.

I won't not go and see a film.

I may sit there and go, ah.

You know, I got all me out of my own frustration.

But you know, for instance, over the holiday, my daughter showed me my older daughter.

She says, Dad, we got to watch this movie.

It was everybody's fine.

I don't know if you've ever seen it.

I haven't watch it with your kids.

It's a very it's an older film, but it's a terrific message and very very He's terrific in it, and I'm watching that.

I gotta got to forgive him, you know what I mean, because this supersedes well, you see, but this goes to the point of some of those other artists who tell me, I mean, you go into a DeNiro film and you're like, it's hard for you to watch him because you know the politics.

Yeah, well there is a there's always that little bit of, you know, a disappointment because there's such a vehement, seemingly unjustified response, as many of them are.

You know, it's a knee jerk reaction of this TDS syndrome.

And do you worry that your fans might have the same reactions some of them, some of them they see you.

But I answered them back on that, I go, I'm sorry you are feeling like that, I says, I hope it doesn't affect the future.

The thing that people may not know, well most of them now know it, but because they knew you was an actor first, they didn't realize you studied music at Julliard Opera.

You said, Lawrence and Florence Gobi.

You sang really up until in your early life.

You won music competitions in New York up until at fifteen, and then what happened?

What happened at fifteen?

No, well fifteen, it was actually after fifteen.

But at fifteen I got I was the Raymond J.

Bar Beauty Wards for the most promising athlete on the Eastern Seaboard.

I was singing, acting, winning awards all over the place.

Right after the football season, I got very ill.

They thought it was pleurisy.

Huh.

So the doctor was giving me antibiotics.

I was home, was right during the holidays, and I stayed sick through the time, and I wasn't getting better.

And I was home, home and home, and from like two hundred and thirty five pounds to one hundred and ninety then one hundred and seventy.

And my uncle comes over.

He says, Mary, you got to tell my mother's name was married.

You got to take him to the hospital.

Something's wrong.

Of course, we did go to the emergency room and they admitted me and they tried to find out what was wrong.

Now, at that time, there was a man named Joey Lamonino.

Oh blind, Yeah, tire blew up in his face when he was younger.

Yeah, three nerves were cut his optic nerves were cut and he would go to Sanga Giovanni Ratunda in Fojia, Italy to go to confession with Padre Pio, and when Padrapio blessed him, he was almost knocked over by the smell of roses, and Podrapio said to him at that time, you will receive new sight.

And Joey then became a proponent of Padra Pio and would do these prayer meetings the rosaries on Fatima Gara Bendel at the time and also Padra Pillo.

So he was a family friend because we would go that.

My mother was head of conference.

Turned before that, I met Joey Jonalmond and I knew him.

Oh wait till you hear this.

Wow, you did know.

I met him, but I didn't know this story.

No, no, So Joey, I told my mom, couldn't he pray for me?

I'm in the hospital.

They don't know what I have and I'm how old are you not?

Sixteen seventeen, fifteen sixty around that age, And all of a sudden, a telegram pray blessings I'm no doctor from Padrapillo because they didn't know what I had, and a pair of rosary beads blessed by him.

I prayed on them.

My mother dreamt up his mass, Pardrapillo's mass, and a week later, Saturday morning, I'm sitting up in bed for the first time, and the doctor Eugene Tyche and Huntington Hospital, Long Island, says to my mother, Mary, if you told me his son would be in this shape a week ago, I'd say, only a miracle.

And this was He had no idea about Pardrapillo.

Wow, he had no idea about the intercession.

What did you have?

They thought it was some autoimmune thing.

There was a muscle biopsy that said he may have had some, but they don't.

Back then, you had vocal problems as well, right, that was because of the strain.

I was a baritone with the heart of a tanner.

I had to be.

But the testaturrah.

You can hit the high note, but you can't stay up there in the testah, you know.

And so I was going into these tanner arias pushing it, and I pushed it.

I strained the vocal court.

So anyway, that was the curing of partipa.

Wow, and that that.

But but the vocal cord thing came little after that, And what was that to the turn to acting, as I was always wanted.

I went to Hopstow on a drama scholarship and and then I just made the full turn to just well, let me do.

My strategy was opera singers don't make a lot of money.

It's difficult to kind of like go into the opera world, right right, I'll become a movie star and then I'll do the opera.

I'll stock everybody.

That was.

That was the that was, That was the thought process.

And then when Sinatra died, well, I directed a film called The Dukes You saw commentary myself, Marian Margolis, Peter Bugdanovic, and won nine awards, and I sang it was about a dou wop group that pulled the hest of difficult I think were the only film that had ashes for ash Wednesday.

In the movie, people go what do you have?

Because it's ash Wednesay?

And you know what I mean.

I thought that the dichotomy of these guys with ashes talking about a heist would be a fun fun It was yeah, very Copula of you, you know, the baptism and the white family out of the Godfather.

I thought a lighter touch, but the same idea.

So then I did in a Sinatra.

I did covers, right, But I want to I want to go back a little bit.

I want to go back to the to the nineteen seventies.

You're working in a restaurant.

You're a waiter in a restaurant, fia Ellos, fiar Ellos, and you get cast in a movie with Frank Sinatra.

Contract on Cherish.

Tell me about, first of all, the first time you met him, because I know probably on the wall of the Dobby household was the Pope and Sinatra.

Solutely all Italian families.

I always say there were two figures in an Italian family of Pope and Sinatra, and not necessarily in that order.

And then for a few years he had Pope Francis.

Yeah, that's right.

Tell me what did you what was that moment like when you first met Sinatra?

Do you remember it well?

You know, I got fired from the waiters job.

Yeah, tell me that.

Yeah.

I was working as a way to making enough money to do my singing lessons, my acting.

That was at the Active Studio.

And then I was studying with Stella Adva and she said for three years, I just want you to study the class.

So I had the full after going to Hobstra right and I was happy.

And finally the end of three years happened with Stella and I got fired from the waiters job.

I went in one day and the guy says, you didn't turn in all your checks the other night ago of course I did.

I'm very fastidious about that, and I had been bragging about how much I made in tips.

I didn't know how to fudge.

Guys fudged.

I guess, yeah, you know what I mean.

They did.

I had no idea how to do anything anyway.

I was shocked.

He goes, look at your drawer.

I went in.

I'm a lefty.

The writing was slanted to the right, different patent.

I says, this isn't mine.

He goes, I gotta let you go.

No.

I didn't know what that moment to either say what will it cost to keep my Maybe he wanted payola.

I don't know.

I was just stunned.

I left, and I had I was freelancing with an agent More Schwartz and Barry Morse was my agent who became a huge casting director for theater.

And I said to Barry Sinatra his mother was His favorite book was Contract on Cherry Street.

His first film in about nine years eight years, and I says, did you ever put me up for this?

Because the word was on the street.

I knew people going up for it, but I wasn't because we tried.

But Sinatra's using all his old friends.

I go, oh, and finally, I just on my own.

I says, where's the office?

On a whim, he says, it's Fifth Avenue, next to Tiffany.

I'm going to go up there.

He goes, go ahead, What do you have to lose?

He could have said, what are you crazy?

You don't go.

I go up to the office and the guard.

I go Cherry Street.

He goes third floor.

I go to the third floor.

The door is opened.

I go, excuse me.

I hate to intrude my understand you're casting for Cherry Street.

There's a woman sitting on the desk.

One behind the desk.

I says, I heard it's all cast and they looked at me, not quite.

Do you have a picture and resume?

I says, I didn't want to be that presumptuous.

He says, bring one tomorrow or what I said.

Screw that.

I went ran to the agent, which was ten minutes away.

In the fifties, yeah, come back.

Fifteen twenty minutes later, go up, go third floor.

They're in different positions and go why wait, and they laughed.

I gave it to them.

This was a Thursday.

That Friday.

The next day we had to have a pocket full of quarters.

I don't know if you ever had that, huh.

There were no for the cell phones.

So you could get phones.

You had to go active phone one eight hundred, actiphone, something like that.

Message service, message service.

So I call up.

They go call up Columbia right away.

Robert, Yes, come and pick up a script.

I go, okay, I come there, pick up the script.

Eddie Earnhalt wrote the script.

They go read these scenes, come back, go to the park study.

Come back at six o'clock tonight.

I read the scenes, the characters throughout the whole thing.

The sonatas brothers Mickey and Tommy sonatas Jay Black from Jay and the American wound up playing the other brother.

I come back six o'clock.

Billy Graham Sinatra, Rene Valenti.

Billy Graham was a director, not the evangelist, not the evangelist.

He was a guy.

He was a trumpet player, actually, Billy and also a great director and you Benson and the casting and I do the thing, and you know, Sinatra and I leave the office.

As I'm leaving, the door opens up.

There don't go yet.

Two things either they want you to read another character or they have a direction.

She comes out five minutes, she goes, what are you doing this summer?

I go, you tell me, She goes, it's ninety nine percent yours.

Well, choir your agent Monday they did, and that was it.

That was it.

I got thirty five hundred dollars a week.

Wow.

For three months.

I never was on a plane.

They flew me to California to do pickup shots for ten days, put me up at the Beverly Hills Hotel, and Frank took a liking to me.

Tell me about that moment.

I know a lot of people may not know the Sinatra had.

He was a four sub spabe, he was a fourceps baby, and he had these deep scars.

I think it was on the right side of his face, right on the right side of his face, and in certain shots you see it.

Yes, he saw scars on YouTube and said what he says, don't let those body you have force ups baby go Yeah, he goes, don't let those things body with him as decorations.

And years later he got rid of his and he has the barbera and he hated it because he always got like a little nerve.

Yeah from the plastic.

Yeah, from taking it away.

Wow, he got a little thing.

But yeah, that's what he told me.

And he also Harry Guardino was in the film who did a lot of films with Eastwood and ye did a play with Lauren Bacall.

One of the funniest men alive.

Harry.

You would have loved to interview him.

He was hysterical the stories he had with Sinatra and Jilly, and I told the story about getting fired from the restaurant to Harry Gargina.

Harry's in the movie with him.

Yeah.

About a month and a half later, Harry goes, come on, the old man wants to take us to dinner.

Now we need to go to Patsy's.

Yeah, at one hundred and seventeenth Ye, the pizzeria or Patsy's fifty sixth the restaurant, Yeah, the two places.

Because he was with Patsy's in the forties.

They used to give him soup and bread when he had no money.

Wow.

And he was on the skids, and he always remembered that and the great restaurant and the great pizza the other place.

So now what happens is we're driving and it was Martin Gables and the car, Gillie Rizzo, Frank, Harry, and this other guy well I didn't know.

We go up, we turn around and we pulled right in front of the restaurant.

I look at Harry, I look at Frank.

I look at Harry.

I look at Frank.

Frank, go's come on, let's go eat place that was fired from.

I go in there with Sinatra.

What white.

The guy was like this up against the you know, looking at the and we come into the room and he goes like this, he sees Sinatra, he sees this one.

He says that he sees the other guy.

He sees me.

He goes he turns right now.

The guy that we were with sits down at the table with us.

We're ordering.

The guy goes up right back, he leaves the table, comes back five minutes later, puts an envelope in front of me.

I go, what's this?

He goes open it.

He goes at your severance pay.

That guy was a major guy.

That was running restaurants in New York City?

How's that a collector?

Did Sinatra ever say anything about it to you?

They just laughed.

Yeah, they knew what they were doing.

How much interaction did you have with him?

Quite a bit?

Well, he never told him you were a singer?

No, why not because it wasn't my Come on, you know what I thought that He told everyone that wanted to sing used to go to Gilly's.

That's what happened with Harry.

Harry was trying to get his attention, had Jilly's, and he put a waiter's jacket on backwards and kept bothering Sinatra like cleaning the ashtray, doing until Sinatra looked up and said, what hell you do?

And saw him like that like a monkey had He started to laugh and then took him to Palm to the Fountain Blue that night, Wow, and had Harry Guardino sing my protege.

Harry Guardino and Sinatra had a long table of people and then they it was funny.

He had him.

He had the wardrobe come to the hotel because Harry left he had no clothes, you know.

And when Harry sang, the lights came back up and the whole table the Sinatra was gone.

Oh they walked out on Guardino.

So Guardina goes and sits down at this table nobody's there, and he orders champagne.

He orders his until a guy comes like this.

He goes, Frank waants you back upstairs, and he goes, yeah, I'm busy.

Another guy he wanted to he didn't go.

They lifted him up by the chair and checked him out, carried it up.

So those guys had a blast, but he was great.

A week before Jilly died, I was close to Jilly as well.

And the Jilli Rizzo tell people who Jilly Rizzo is, who don't know.

He was Sinatra's really brother aide de camp.

Yeah, he called him a brother.

It was his brother.

It was brother.

And I was close to all those guys, and they liked the stuff I played, you know what I mean, And they Frank and Frank was close to Kubby Brockley, Ah, who is the producer of All the Bonds, which I did, which we're going to talk about that connection coming up.

I didn't realize there was a connection between uh Franz Sanchez, whom you played in that Bond movie, and Frank Sinatra.

We're going to get to that, But I want to go back for a moment.

You mentioned you studied with Stella Adler that period, you also studied with Lee Strasberg.

I'm in the active studio now, this is like studying.

Just so people understand, this would be like studying with Drake and Kendrick Lamar.

I mean these people were feuding their entire career.

Yes, and they were two of the greatest kind of apostles of American acting and teachers at the time.

What did you learn from each of them and how did you use it in your work?

Well, first off, they were all part of the Group Theater.

Lee Strasburg, Shall Crawford and Harold Klerman started the Group Theater, of which Stella was a part of, and her brother Luther.

Stella came from an acting family the Yiddish theater.

Her father, Jacob M.

Sarah At were the greatest.

Oh no, they were the royalty of Yiddish.

Yiddish theater brought the classics Telstoy Shakespeare for the first time to the Yiddish theater.

Anyway, so Stella was already a Broadway star and they were teaching Santaslavsky the Moscow Art theater had come to New York and they saw this Santaslavsky stuff and revolutionized their thinking on acting.

And Ospenskaya came to the new school in Boloslavsky and they all proponents of the Moscow Art Theater and they started to work together and they started putting this.

Lee was putting the books that Sanislavsky had had at that time into play with sense memory, emotional recall and other things to break down habitual behavior and the declamatory style of acting that they used to have back then.

Gwendoline, let's have lunch.

It was that and they were breaking that down.

And I group theater because that's what Santaslavsky did.

He watched Selvini, great Italian actor Lusa, and he analyzed what they did, and then he created this technique method.

This technique, the Sanslavsky method.

Now it was getting actors emotionally upset, the emotional recall and Stella didn't, which required them to go into their personal memories and pick at the scabs and wove those moments and then relive them through this terrect through the character.

And you weren't connecting you would in a scene, but you were connecting to something else, not to the part.

Ah Stella and Harold Cleerman had gone to Paris and they met with Santaslavsky.

This is nineteen thirty in the mid thirties two three something, yeah, yeah, and they met with Santaslovski and Santaslavski they were at a park and Sella is a tall, beautiful blonde at the time, and Sanaslavski is talking and the whole time Stella didn't say anything.

She says, I had to think of what to say.

I wanted to say the right thing.

And he goes, well you you haven't said anything.

You a beautiful young lady.

He goes, I used to hate acting.

I used to love acting.

You've made me hated and took him at back.

He says, why are they what are they teaching you?

What are they saying?

And she told him.

He goes, no, that's based on my early work.

Sanaslavsky had moved away from that, but the books hadn't come to the stage yet.

That work hasn't come to the state yet.

And what it all sprang from was Michael Chekhov.

Anton Tchekhov's nephew here and Michael Tchekhov had done an exercise and emotional recall for Stanislavsky at the Moscow Art Theater about his father's death and cried over the dead corpse.

And after the exercise Stanislavsky said, this is the epitome of my emotional recall technique.

This is brilliant.

A week, lady, he found out Cheko's father didn't die.

It was all imagined.

All that the truth is in the imagination.

And that was the split.

Lee left Strasberg, who was the American.

He kept the old method, the emotional recalling, picking at the wounds.

Stella Adler went more to the imagination and building the background and characters.

Yes, and your imagination, building that emotional connection to that, because it's already in your blood memory, she says, it will trigger it without having to go to access it.

Now, there are certain elements of Lee was a great analys He didn't so much as do a lot of those exercises at the actor's studio.

He did that in the private work where they would work on sense memory.

But it all helped with the imagination anyway.

It all had some kind of into and they feud, but they got together, and then Lee later on did come into the imagination.

He brought more of that work in.

Yes, and Stella Adler, whom my study was, Yes, she was incredible.

I mean she was amazing.

She was an incredible kind of visionary and because she was a real actor, she really acted.

At least Strasburg hadn't really acted.

No, I mean no, no, Stella was.

But he was good.

Lee was.

You know, he was very analytically.

He was an analyst.

I always thought of him more as a I never I never met him, but I always saw him as more of an analyst than a practitioner.

Yes, tell me about you played Jake Fortelly and Goonies.

People love you in that role.

Yes, the role on paper isn't exactly what you brought to the screen.

Tell me how that training helped shape that character, including the music that you brought to it.

Yes, well, everything helps shape stuff.

I had done a lot of Shakespeare, a lot of plays at Hopstra, then in New York, and then working with Stella, working with the classics, you know, doing great scenes, breaking that stuff down.

But again, what you do is you read a script and it was a terrific piece.

I was supposed to do Rambo Part two.

Actually at that time I was signed to do First Blood too, and the agent called up and said, Spielberg and Donna want to meet you.

They're doing this project.

What's it called Goonies?

What's the goonies?

Goonies?

I says, I'm doing Rambo two.

Would sly, Yeah, you know what I mean?

He goes, yeah, Well with Spielberg and Donna, I said, we yeah, they're g said well, here read the script.

They want to take a meeting, and I did, and I took the meeting.

They says, go ahead, do that.

You may be able to work the dates out.

And I figured, that's great kids film with Spielbert.

Remember what's the lie won two punch?

This is Hollywood man, and you know what I mean, You've arrived.

Yeah.

It happened actually before that, when Blake Edwards called me up to douce Kansas City Jazz with Clint Eastward and Burt Reynolds and then got fired from that.

Why Clinton, he had a falling out.

Clint took over the picture changed my character who was the bad guy, the major bad guy against Bert, and Clinton made the two older guys and they changed.

They did, and blake'script was great.

And Blake had seen me do Gangster chronicles, and he said he called me and agent says, Blake wants to meet you.

I went to his office.

He goes, I'm lying in bed in Switzerland with Mary Poppins.

We're watching TV and this actor comes on screen and we both sit up in bed.

You were that actor, He says, You're terrific.

He says, I want you to play the bad guy in this swim I'm doing with Clinton Bert.

I want a young guy going after these two guys, going after this younger a guy blah blah blah blah blah, and that was Kansas City Jazz and I got signed to play this character, pay a play.

Then Blake left the project and Clint took it over.

And I think Joe Stinson rewrote the script.

Who wrote Sudden Impact and you were out.

Well, I had to pay a play, but they made my guy two older guys.

But they said, well there's this other character, Nino you could play that's throughout same pay same.

I said, I don't want to do it.

I said, anyway, I wound up doing it.

They said, Warner Brothers, Clint Bert, how bad could it be?

Well, that's right, why not you know, keep the relationship and you're getting the paid.

So you meet with Spielberg about Jake for telling me.

Yeah, and they put me and Joey Pantaleono together and it was magic, our symbiotic We had done from here to eternity together.

Oh so you all had worked together, worked together.

We were friends and I knew.

And we also did a heart to heart together with the Wagner and Sephanie Stephanie Powers.

We had all of it.

But they put us together and we were just magic on screen.

And that's so that relationship was already there two brothers bickering and they were open to having you adjust the characters.

Well, yeah, well it was Dick John donnad was the director.

Stephen did all the second unit shooting for three months and Donna goes.

I said to that there was a scene, the first scene where I feed Sloth and I have the food for Sloth, and I figured, I'm in the Kids film.

I'm playing this Jake for Telly guy.

How do I emerge Pirate ships pirates Kids?

Yeah?

How do I you know?

You think what you appearance?

Yeah?

What am I going to do?

I mean, besides I break out of jail and do all of that stuff, which was great, And I go, ah, he's a frustrated sinner, he's an artist, his mother is suppressive.

And I did this whole backstory that I'm the big kid, but I'm misunderstood.

And I have this dream because in the script and that led me.

There was a line when I come back with these, I go, how am I supposed to print with the Smithsonian piece of garbage?

The counterfeit?

But I says, how am I supposed to create?

So I led it into that that became here, that became.

And then I said to Donner, I says, I'm lying the food down.

It's silver.

Now what if you know how they say sing for your supper?

How about sloth has to listen to me for his supper or he doesn't get it, or he doesn't get it.

He goes, what do you mean?

And I start singing Una vodiva Laghi, mom Ma, yove yobi.

I says.

At that point I told Jama two start screaming.

I go, oh, you're just like Mama.

See look at the feast I made you.

And now I throw the food at him, and you just like Mama.

And France and then and they loved it and Steven then was doing the second Union shot when Chunk comes to the car and Stephen goes, Chuck goes, but he goes, I want you to start singing something, but don't pick anything.

We have to pay for something in the public domain.

Yeah.

So I did something for Madam Butterfly, a take on that.

But everybody asked me to sing all these gooney conventions they all want to hear.

Isn't that hilarious?

Do you think I read somewhere you're concerned about there's talk of a gy sequel.

Yeah, I don't know.

How what do you do bring Josh Brolin back?

Now?

What do you all the guys?

I'm sure would do it.

Everybody would come back.

I'm sure would you.

But you're worried about your participants.

Well because I'm you know, because of your politics.

Yeah yeah, yeah, you never know, you never know where would that come from the studio or I mean the politics.

Yeah, Oh, I don't know, you never you just I know what's happened before.

Yeah, so you're just concerned that it could be, you know, an overriding thing.

But you're such an iconic part of that that story in that film.

I mean, I don't know how you I know who?

But they want after Goonies.

They wanted to do it for Telly's spinoff with me and Joey really yeah, and then they wanted me to come in to meet Chris Columbus on Home Alone.

But I and I said, but I did that.

You know, yeah, you'd already done that.

I've done the character and yeah, and who thought Home Alone was going to?

And you want to give Joe Pesci a shot?

I know that's what you were saying, Joey Pesh and Daniel Stern, you know, tell me.

I want to talk for a moment about that.

The other great character when you ask people about Bond villains, Franz Sanchez Loan's large in License to Kill.

Yes, I mean that first of all, How does it feel looking back on that to be part of that legacy if you will?

Yeah, it's you know, when I was young growing up Raymond, and we used to go to the theater to watch the Bond films.

Albert R.

Broccoli presents and you heard that I was a young kid.

Broccoli was from a story of where I was born, grew up in sag Harbor where my family.

I says, what a connection?

Right then?

Years later, I my Cafe Roma in Beverly Hills and his daughter, Tina Banta, lovely girl, was a huge fan of Gooni's and she knew of my history of a story.

He says, my dad would love to meet you.

Love you, you should meet him.

Yeah, I'd love to you kidding, And we had dinner at the Bistro Gardens with her and Dana, Cubby's wife, and Cubby and we had a wonderful time meeting, and he wound up managing me.

So we did a project he was always forward thinking, called Terrorist on Trial the United States of America versus Salem Ajamie.

I remember that you played the terrorists.

I played a Palestinian kidnapped by the United States government to stand trial for acts of terrorism.

Alan Dershowitz was the technical advisor.

Sam Mortiston played the prosecutor pre law and order, and Ron Liebman, who had one oscars, played the defense attorney based on Dershowitz, and I got amazing reviews.

It was on the La Times cover calendar section all over the place New York Times, and Richard Maybaum called up Kubby Brockley and says, put on Channel two because it was a three hour special for CBS.

He said, I got it on.

He goes, there's the next Bond villain.

He goes, I think so too.

They called me in the next day.

They says, we're writing it right now.

You're going to be the next Bond villain.

And that's how it happened.

And they wrote it for you.

Yeah, they wrote it with me and mind Michael Wilson, because there was a writer strike.

Kubby's step son was right hand to him and Barbara, who have since now sold the franchise to Amazon.

But it was a wonderful, epic time and it was what a crew.

The people had worked together for so often.

Okay, now tell me about the Frank Sinatra connection here, because Kubby Broccoli was close to Sinatra, you had worked with him and were close to him.

How does Frank Sinatra figure in to a Bond Villain.

There was a man named Sidney Korshak.

Ever heard of him, No, there's a book about him.

Most powerful man in Hollywood.

Sidney Korshak was a lawyer for people in Chicago, very powerful people.

But Sidney Korshak, Sid Scheinberg, Lou Wassaman, paramount.

They shuddered with Sydney when he called Orschak was one of the most powerful men in Hollywood.

I knew him and his wife b They were friends with Cubby because he would handle problems all over the world.

We were with unions and other issues, teamsters and all kinds of stuff.

And Sydney was a friend of the Sinatras as well.

So I would have lunch with Frank, Sydney and Sinatra.

Now, when they were doing the Bond thing, Cubby said, you're going to hear a lot of things on the street.

I'm gonna get a lot of pressure, but you're going to be the guy and we'll make it as press, you know.

And they were doing the pressure stuff, and they were doing this and doing that, and and and Frank Chris is smoo them go with the Italian kid, the good kid.

I mean, that was already but it was that that was a fun input thing, you know what I mean.

And so Franz Sanchez.

They always wanted Frank to sing a song or to play a villain.

Oh, and he would never do it.

And he didn't do it.

So fran Sanchez is Frank Sinatra.

That's how they got the name fran Sanchez.

Frank Sanchez is an homage with the FS.

When I saw it, I thought, now it makes sense.

He also has a kind of there's a dominating swagger about that guy that has the he's got the DNA of Sinatra in him.

I had I had to do something that was I wanted to do.

Of course, you're doing a Bond villain, so I wanted to do.

We had gone.

Me and Timothy talked to Kubby and John Glenn, the director who's a terrific person, and in Concino Reale Ian Fleming maps out that Bond and the villain the mirror images of each other.

So it was Timothy play's Bond more like the bad guy, and I'm being charming like Bond with the quips until you throw people, to throw people to the show, which Sinatra I hope didn't do.

No, no, no, he never threw Joey Bishop in with the show.

No no, he metaphorically, maybe, but not if you asked Don Rickles.

I talked to Jimmy boom Butts.

He said, everything's okay.

Tony Vascalini, those names that Don Rickles made up.

I opened him in Vegas.

I know you opened for Rickles.

His last four shows Wow, standing, unbelievable, unbelievable.

He was a legend.

I want to talk about that part of your career in a minute.

But while we're talking about this drug cartel lord you played in the Bond movie Friends, Centre Sanchez.

If fran Sanchez heard that the president of the United States was about to begin a land invasion of his territory and he had just taken down a fellow president of another in another country, how do you think Frands would react?

It would be rather interesting, rather, you know, that's a nice premise.

How would someone react like that?

I think how they're reacting now, some of them, you know, they're wondering, Okay, how do we get out of this jam?

How do we get out of this jam?

Because up until then it didn't happen, although we did get Noriego at the time, and I did meet Pablo Escobar?

You did Did you take any of that meeting into the character?

I met him after?

Oh, you met him after?

I did a film in the Amazon rainforest in nineteen ninety with a finished director Mika Koutismocky, and I do this film and I'm at the hotel.

I think it's called Tropical in Manaos with rubber barons built this amazing hotel.

The wood and the detail of this hotel.

And I'm sitting in the big luncheon room after being with the Yano Mummy Indians in the jungle and shooting because it was about the guard impos the gold diggers, and two guys approached me, and a long story short, I wound up meeting Pablo Escobar and he goes, I saw the film because it had just opened up.

He goes, you know, among other things.

He goes, loyalty is more important to me the money, that's right, And then he goes, When I was younger, I tried to buy a discotheque.

Yes, I offered them good money.

They denied me.

I offered them double.

They didn't triple the money.

I built the exact same thing across the street through the tee and charged no one for drinks or entrance, and I put them out of business.

They should have sold it to me.

This is my personality.

This is But that's high praise from Pablo s You got it right, yeah, I mean you got the type of Do you have any advice to the new Bond producers as they embrace this franchise Bond, James Bond, keep him, keep him Bond.

Don't go woke.

Don't go woke, go truth, keep the the legacy of Kubby Broccli and Dana Brockley.

You don't need to go woke.

Is that?

Does that worry you that they might go woke?

Yeah, there's words of passion, there's words of that.

There's a reason why it was created by Iani Fleming.

Create a different show.

Okay, I want to talk about you playing the other side of the law.

When you played FBI agent Johnson in Diehard Heard and also Bailey Malone and Profile right Jahnson, you played both sides of this thing.

Always tell me about Johnson though that role, I mean another iconic.

It's I mean, it's an incredible thing to be part of one hit.

You've been part of multiple hits.

Yeah, thank God.

Tell me about that that film?

Do you do you have any memory of working on it?

And exactly well, I was.

I did row deal with Schwarzenegger and we became good friends.

And then Joel Silver was very close to Arnold Predator and the other films Commando, and then Joel liked my acting and started putting me in films and he called me up and I had done the Bond film.

I knew that was in the can, and he goes, I got something for you, die Hard.

Now, Bruce Willis at the time, God love him, didn't have a hit.

Who was die Hard with?

And Sinatra really had the rights to that book?

You know, no had the rights to that.

In Dirty Harry, I did not know that.

John Millius had a meeting with Frank at Warner Brothers to convince him to play Dirty Harry.

And he goes and here's your gun.

And Frank gets the gun and he goes like this.

He goes, it's it's too big for my hands and handed it back.

He would have been a bad dirty hair right anyway, that was, but he had the rights to these books.

Wow, Frank had the rights to a lot of stuff anyway.

So what happens is Joe says, I got to and it's this agent and I read it and go, yeah, all right, it's not it's I didn't know, and I go, I'll do it, but I don't want any billing.

I was like feeling my own so I was stupid.

I says, don't know billing.

He says, what, No, you got to have good billing.

I said, Joel, I don't want billing.

I'll do it, but you got to pay me and i'll you know.

He paid me good.

And then after the film comes out he calls me up.

He goes, you sure don't want billing, I said, Joel, I told you.

I love you man.

He goes, but I got to put you at the end.

I go, okay, so you can get residuals.

I says, yeah, fine, because I was trying to do like a star turn cameo where you show up and nobody.

Oh.

I had an inflated ego at that time.

A little bit you've gotten over that I did.

I have.

Okay, I'll have a bit of an ego.

I know, we all do.

It's part of the it's part of the deal, part of our sickness.

That's right.

Oh fun.

Anyway, So I do the thing and I'm watching die Hard for the first time at twentieth Century Fox, first screening with Arnold.

Oh, Arnold comes with you.

Yeah, he says, come on, we're gonna go see this movie.

Yeah.

Here, it's fantastic that you're in and we're watching the film, and it's like, because Arnold's a real film fan, you know he was, And he's watching the film, and we're watching the movie and watching I come on screen.

Who's in charge?

Not anymore?

He goes, this is fantastic.

You look great.

Yeah, this is great.

It's great year and he's watching it, and he's watching it.

He oh, what are you doing here?

What's wrong?

Would you look at you made him a jerk?

Yeah?

What happened?

I go, Arnold, it's the script, it's the character.

He thought I was coming in to save the day.

I was happy for that, because the character becomes a foil.

He was.

It was upset the idiot.

Well you played like this?

So Arnold was not a fan of die Hard.

No, he loved it.

Oh he loved the movie.

Just not your role.

Yeah yeah, he just we made fun of that role.

Okay, settle this for us.

Every year, this comes up every darned year.

Is die Hard a Christmas movie?

All right?

For many many years I rejected that premise until I put this on a couple of years ago.

Die Hard is a Christmas Movie?

Went to the can that went viral on acts over a few million views.

And what happened was I had gone to London, the London action film festival and me and John Macturnham were guests.

They asked me to sing a couple of songs.

Okay, so I sang a couple of Christmas songs like let It Snow and like that, and I go and I hope New York City Christmas, which we play at home everyh oh yeah, oh yeah.

That should have been a classic, but it didn't.

Know.

I sang that and a few other things.

And at the end of that, I go, listen, guys, just to and we had a full audience of a couple of thousand.

I says, just to dispel everything, Diehard is a Christmas movie.

So sing along.

And then we sang and everybody cheered and loved that.

So I then say, why do you say that, Why do you say it is a Christmas moment?

Well, now I do, because, well, first off, when you look at it, sett in Christmas, the music is being played through the whole thing, a Christmas tributed songs, songs.

And then you had John McClain barefoot, bleeding, sacrificing himself.

There was a Christ, a shadow of Christ in the character.

You know, you could say that it's not it's a wonderful life, it's not going my way, it's not you know what I mean, but it has it has elements of that, and it's redemptive to the redemptive at the end.

And the people people love the film.

People love the film.

I mean, it's crazy.

It's all these years later, it's incredible.

It's still I mean because people it's a movie proving that it's a Christmas film.

They watch it every year several times, right right, I mean, who does that?

You know?

I mean, that's becomes part of the cannon of Christmas.

Do these when you play these dark characters, okay, these killers, these these drug cartel leaders, does it ever seep into your life?

I read something with the Stranger Things actor who's playing the villain there and they had to go to therapy because it's gotten into his life.

Do you ever feel that?

Have you?

You kind of like take a good sauna and steam to get it out.

But you know, you're playing a character and it's in the imagination and you're staring up things and everything is part of us.

Everything is in us.

I don't care who you are, whether you're killing an ant or killing a human in a film.

You know, there's instincts and you we're fighting that as human beings, the redemptiveness of our own souls.

So, and I never go into the character going this guy is villainous, he's bad.

I don't do that.

I go this guy has an action, Let the audience decide, and I'm going to justify for myself how he comes across.

And that's I think makes the characters believable to some people.

Yeah, you find a human justification for each of his actions, no matter how dark, ideous or horrible.

I mean, which is classic Adler technique.

We should tell people.

Yes, you know, she would say, you can't just do something.

You have to internally justify and find a reason for it that fits in that character.

So he's okay doing it.

Yes, whether the public or anywhere to watch it, yes, they can justify or judge it.

But you're not doing it.

You don't want to.

And so's but no Enxorcist movies for you.

I read somewhere when you were offered those kinds of movies, you shy away.

Why because there is a spiritual battle going on and those films.

The most terrifying movie episode as a kid was Exorcist.

Me and my cousin were in a theater, And the only thing that saved us is we had a predominantly black audience who was talking back at the screen.

You know, the lighten the mood.

I mean, it just made it.

But it was terrifying.

Went to bed with our rosary beads because I did that film was terrifying.

Yeah, and you know, the demonic spirit is alive and well, and I don't want that.

I would not want to conjure up.

Wow, that's interesting.

Tell me about I want to go full circle here after your and your love of music, your encounter with Sinatra.

In twenty eleven, you come out with Doffy Sink Sinatra, which is full beautiful new orchestrations of many of Sinatra's hits.

First of all, why do the Robert Why not do a slate of songs that in the style of Sinatra, but not his hits.

Did you worry that the comparison might be made.

I wanted the comparison because my thing was if I can at least have some kind of how do you make a bit of a footprint, How do you make a bit of a footprint.

So I said, let me do the classics, and I had Phil Ramon produced the album.

Who had done stuff for Sinatra?

Did the whole Duets album?

Yeah, and I was doing a thing because I wanted to my connection to Sinatra.

He was gone.

And now the next album I have is more obscure stuff.

It's a bunch of obscure thiess still part of the great American song book.

Oh yeah, yeah, which you called the Shakespeare of America.

I love that, the amalgam of the American experience.

It comes from the black jazz and jem blues artists, the Irish, Scottish, Welsh, Lebanese, American, Indian, and then a large portion from the sons and daughters of Jewish immigrants.

Yeah, and that's why it translates.

But you needed the Italian to sing it, and that's why it translates all over the world.

Is that the math?

But you need to Italian.

You think, oh, you had Henry mess you had some great Harry Warren.

Oh yeah, it was Italian.

Oh I didn't know that Harry Warren was Italian.

It was Italian.

Wow, I did not know that.

Yeah.

Yeah, So it was Pete Fountain Clarinetus.

Oh yeah, it was Louis Prima.

Louis Prima was well he's from here.

I got the Louis Prima Entertainer of the Year ward.

Yeah, wow, when you deserve Dina Martin gave it to me.

I love it, and presented it to me, and then we went to Louis Tombstone, right, yeah, right in Metorie Cemetery.

Yeah, yep, yeah, I love that.

Quincy Jones said of your album, your Sinatra album, he captured the essence of old blue eyes.

Didn't do an impression.

It captured that.

How do you balance that between to preserve your own style while paying homage to this voice that got to be playing in your head?

Whenever I sing any of those songs, you inevitably beautifully.

Yeah, that's what you're hearing.

You're hearing Sinatra in your head.

Yeah, you have.

You can't help, you know, because the purity of his tone.

You know, he was the first belcanto singer.

Yeah, he wasn't a crooner because he studied with the guy from the Metropolitan Opera, John Maguire or somebody like this, some Irish drunk tenor, he used to say.

But he had the legato, the purity of tone, and so and Bing Crosby too, who doesn't have the legacy.

He has the legacy, but doesn't have the the popular Aside from White Christmas, his kind of Going My Way had twelve Academy Award nominations, a bunch of wins.

Yeah, and his stuff is brilliant.

He was a brilliant jazz musician.

But he just doesn't get the the the mythical, the acclaim.

You know, he didn't cling somehow to the American like a guy like Seth McFarland, who's a good singer.

He should do a tribute to Bing.

He should leave Frank to us stallions, you know, I mean Seth your Irish or whatever you are Scottish to attribute to Big you had to by the Sinatra album you had a hog that to yourself.

Arrangements, arrangements, they're beautiful, some of the kidding Gordon Jenkins, Don Costa and the Nelson Riddle, Billy May the best incredible self excel stortle.

Yeah, tell me before we leave this topic of entertainment in the industry and go to the Royal Grande questionnaire.

When you look at the Kennedy Center, Trump took over the Kennedy Center, they made a lot of changes.

Artists have in recent days been boycotting or canceling performances.

Your fought on that, Richard Grenell, I'm ready to do a concert at the Trump Kennedy Center.

You understand, all right, I've done it all over the world.

You know.

My thought is, I don't know why they would cancel.

It's unfortunate that politics has become that kind of Well, this is where I don't like the politics and the arts merging in the Maurager Robert, Yeah, they should be the arts sport.

These should be politically neutral zones.

Sadly they aren't, and the art becomes a vehicle for political station and statements.

And I think the audience has had it up to here with it.

I would hope so, I would hope so.

I hope there would be blowback on that, But it seems to be like, you know, there's a lot of that aboy backslapping on that.

Yeah, see he canceled out.

We're going to do the same thing and maybe our set.

I don't know.

I don't know the justification for it.

Okay, I want to You've interviewed You've interviewed more people than Dick hab It, Mike Wallace.

I don't think so any of these guys.

Yes, you have maybe thirty years, Robert thirty years, and you've interviewed everyone.

I mean the iconic people.

You've interviewed, from Popes to Jerry Lewis.

Yeah, I mean well and many, many, many many in all Cross Streelds.

It's just extraordinary.

You were just with our pal sled alone.

You're doing the next season of something.

Yes, yes, yes, you can't talk about it.

I haven't, but I don't know if there's nobody told me don't talk about it, you know, I just haven't because the character is getting introduced slowly, and it's a it's a great character, and I'm excited about I love the show.

I'm a big fan of the show, big fan of Sly, as it has for years.

People don't realize is really a writer.

The first yeah, he's an artist.

He's an artist.

But the first time, the first time I went to Sly's house, his wife brought me in and he's at a little table writing on legal paper.

He's amazing.

So he takes a very very strong hand in shaping these script, paints these scripts.

He paints the character.

He had very specific ideas and he's just a he's just a huge talent and a great person.

Did you have an interaction with the like shaping the character?

No, not really, no, not really no.

I mean I mentioned a few things to Joe Ricabunny and you know you can, you can, but it's just early on in the character and now things are happening.

That's very, very fun.

Okay, I'll tell you something off camera.

Ok but you can stay tuned to Tulsa.

Okay, I want to go to our Royal Grande.

Question is yes, I ask everybody these questions.

You ready, who is the person you most admire?

Well, of course the man on the cross.

Yeah, well he's a pretty good one.

You know, who's the person most despised?

At various times?

It changes?

You know, there's no consistent this person that that I know or in history or you know, it's it's yeah that ebbs and flows.

It ebbs and flows.

It could be it could be a spontaneous burst of dissatisfaction and so you have you have a moving Okay, what is your best feature, Robert Dovey, My best feature, I think compassion.

M hmm, I think a sense of empathy.

What's your worst feature?

My lack of empathy.

What do you fear that moment of the unknown of you fear death, You fear death of any of your kids and your family members.

Yeah, you know what I mean, you fear.

There's a bit of that.

Even though I believe in that after life and everything else, the reality of that can be.

You know, when you finally reached that moment, as you're getting closer to what it is, you start to think you're a young man yet, you know, But when you're seventy four years old, you start to think and see friends of yours and people you knew all of a sudden going by the wayside, and then you say, well, i'd be this kind of statistic, and there's a shuddering and then leaving the kid, you know, the kids un protected, and that's a scary moment.

What is your favorite book and the last one you read?

I mean, I had so many favorite books, and the last one I read I'm reading, you know again, Marcus Aurelius.

Thing I had.

Oh, you're diving into the stoics.

Yeah, I like the stoics.

I'm reading that about Marcus Aurelius.

I had never really read him when I was younger.

Interestingly, there's a resurgence in the Stoics.

Yeah, yeah, and the Stoics were interesting, and I try to apply that, you know, besides the Bible and Christianity, you know what I mean, besides the obvious?

What do you know that no one else knows a few things?

Okay, yeah, you got to talk.

You got to tell me.

What do you know that no one else knows?

That no one else knows?

Well, that's a hard one because I don't want to explore well that most people don't know.

Well, I don't know.

I was cured by a miracle.

And I was at Marlago the night of the election, and it was very exciting, and we know that we were wondering about a miracle when Trump was an assassination attempt with the president Trump, and I was at Marlago and there was the big ballroom where everybody was at, and then there was a quiet room that some of the big donors were at, and his old friends and some of the other politicals.

So at a certain point I went into that room and people are introducing me to people and I go, ah, no are you, how are you Robert?

And this is so and so, and this is so and so, and this is Anthony Lamon Gino And I go, who Anthony Lamagino?

Wow?

I go, were you related to Joey?

He goes, Joey's my brother, five brothers.

He was my closest brother.

I go, I'm Robert Doaby.

When I was younger, I was cured.

Joey used to play and then this is his son, Joey's son.

Oh my gosh.

And it was because you're all wondering, was it a miracle that thing would happen that night and everything else, and the fact that the lamin Gino's were there and Joey's son was there was something that was very very interesting to me that nobody knows the power of miracles.

That nobody knows.

Yeah, I mean that's something.

What's the greatest piece of advice you ever received?

I was a young, a young kid in New York starting with Avid working doing the plays, doing this, doing that, taking the subway, and I didn't have money for the subway one day or I had enough, and I was absent minded, because you know you, back then it was safer, and I was riding the subway thinking of the scene I was doing, and I missed my stop and it was too far and I got off and I realized I didn't have enough money for another token.

So I went to the guy at the gate at the Turnstilarium.

I go, sir, older black guy, I go, I kind of like was daydreaming, and I went on, I made a big mistake and I didn't get off money.

Stop.

He says, do you mind if I just go back on me?

And he looks at me.

My boy, I'm fifty eight years old, and I never made a mistake I didn't pay for.

It's a great bit of advice, and I remember that never made a mistake that I didn't pay for.

It's more that true.

Tell me your biggest regret, do you have one?

Yeah, My biggest regret is, well, I don't think I was in the early days the best.

I was so busy with my career that I neglected family in some aspects, traveling, you know, facing the monkey and facing the monkey's tale, and I think I could have done more for my children and stuff, and I didn't.

Then also even with investments and stuff, you know, I didn't.

I was making some good stuff, doing things and I could have and I didn't.

So that was you know, those are mistakes.

Yeah, and you know my parents died young, at fifty five and fifty four years old.

I didn't know that my sister, my younger sister, was murdered at twenty.

Yeah, you know, so those things, not having them around for a period of time to see they saw the beginning of it.

Yeah.

My mother died, was diagnosed the day I got Sinatra's film.

She was diagnosed that week and then died by the time we finished filming.

My dad saw it and then he died a year later after it came out, and he was all proud.

But yeah, you know, so you never had to what happens when this is over?

Robert, When what's over?

Wife, I leave it to you.

Oh God, I hope I make the paragates too.

I hope I'm there with the Lord.

I sweart.

Robert tell me, always enjoyed me.

I hope a man in the middle cross better better help us out.

Here's the hole.

I love that line early on where Frank Sinatra told Dobby where those it makes you who you are.

I guess that's true of all of us, and we want to hide from those things.

But at times it's the scars, the rough experiences that you survive that allow you to do the next thing.

I'm glad Robert Dovey's continuing to do the next thing.

Glad you're here as well.

Why live a dry, narrow, constricted life when if you fill it with knowledge and wisdom, it can flow into a broad, thriving Arroyo Grande.

Thanks for being here, check us out in the future.

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