Name: Frank Capra on Letterman, November 22, 1982, Upgrade, Complete
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Description: Watch the stand-up comedy video 'Frank Capra on Letterman, November 22, 1982, Upgrade, Complete' from Don Giller on Comedy Buff. Published 2016-12-18. Transcript available.

Watch the stand-up comedy video 'Frank Capra on Letterman, November 22, 1982, Upgrade, Complete' from Don Giller on Comedy Buff. Published 2016-12-18. Transcript available.

We have a fine program for you tonight.
Carol Kane will be joining us in the next half hour.
It is both an honor and a pleasure to welcome my first guest tonight.
If you've ever seen a film that he has made, you're no doubt a fan.
The list is awesome.
It happened one night.
Mr. Deeds goes to town.
You can't take it with you.
Mr. Smith goes to Washington.
It's a wonderful life.
Meet John Doe, Arsenic and Old Lace, and many, many more.
Welcome one of the greatest motion picture directors ever, Mr. Frank Capra.
Thank you very much for being here.
What a happy show.
It's a pleasure to meet you.
That list of films that we read off in the introduction.
They're all okay.
Yeah, they're all okay.
When you were working on those projects, did you have any feeling that these
things were going to sustain or withstand the test of time?
No, actually, we thought they were like newspapers, you know, you'd read them
and throw them away.
We didn't have any idea that they'd have any value later on.
When you see them still today, is there anything that just amazes you about
them?
Yeah.
I look at them, I say, they're damn good.
Yeah.
Now, you were, your parents were immigrants, right, from Sicily?
And you were a poor background, poor kid.
How did they feel when you started having overwhelming success in the area of
motion pictures?
Well, I tell you, my mother, she was a hard, hard person.
And she didn't, she didn't, unless you worked, you were a bum.
If you drank or anything else, you were a bum.
Now, she didn't think I was ever working.
She'd ask me, what are you doing when I'm writing?
She'd say, well, who would pay you for writing what?
So, she kept saying to me, Frankie, when are you going to find a job?
A job to her was a hammer, you know, a saw or something, or a hole.
Well, she kept this on all through the time.
Now, when I got finished with Mr. Smith Goes to Washington, I took her to the
preview of it.
She was, first time, she knew what I was doing.
And I took her to a, and I was sure going to knock her right on her can, you
know, if she doesn't want anything.
Well, she sat through that whole thing with, just to watch, after we got
through, people applauded and everything else.
Here was my name and my picture in the hall.
I said, Mom, what did you think of that?
She says, Frankie, when are you going to find a job?
That's amazing.
Did, um, we're going to take a look at now a scene from It Happened One Night.
This is Clark Gable, and I believe this is going to be the famous hitchhiking
scene.
So, we'll take a look at this from It Happened One Night, and then we'll come
back and talk more with Frank Capra.
Watch the monitors here, if you will.
Oh, that's amazing.
Yeah, but it's no good, though, if you haven't got a long face to go with.
Here comes the car.
Okay, now watch me.
I'm going to use number one.
Keep your eye on that thumb, baby, and see what happens.
I still got my eye on the thumb.
Something must have gone wrong.
Try number two.
Well, when you get to a hundred, wake me up.
Thank you.
I don't think I'll write that book after all.
Yeah, I'll think of all the fun you had, though.
Do you mind if I try?
You.
Don't make me laugh.
Oh, you're such a smart Alec.
Nobody knows anything but you.
I'll stop a car and I won't use my thumb.
What are you going to do?
The system on my own.
Was that a little racy for the times?
Oh, not too racy.
Yeah.
No, just a...
No, we had racier than that.
Is it true that this motion picture was one that nobody really wanted to make
or nearly did not get made?
Absolutely so.
Five women turned it down, and two men turned it down, and finally, we said, we
gave it up.
To hell with it.
No, let's not make it.
But an order comes from MGM's boss, who was the boss of all the other bosses,
and he says...
Who was this at the time?
Uh, uh, uh, uh, uh, who was it?
I'll think of his name in a minute.
Uh, uh, I'm lousy on names.
He said, uh, Harry, you've got to make that picture now.
I said, why?
I said, I was out, because I want to, I want to punish a boy down here that's
getting a little, uh, he wants a little too much money.
And I want to punish him, but the punishment meant sending him down to Poverty
Row to let him make a picture down there to see how it was.
Siberia, I'll see you guys, so, uh, uh, that's how we had to make the picture.
We had to make the picture so that, uh, uh, uh, the, the man could be sent to
Siberia.
That was the idea.
Gonna teach him a lesson.
Teach him a lesson.
Yeah.
If he wants more money, let him see what they, how, how it is, what he's
missing up here.
Yeah.
Well, that's the way, that's the way things happened.
That's the way things were made in those days.
Now, is, this is the film where, uh, Clark Gable appeared without his undershirt
at one point?
That's right.
He appeared without his undershirt at one time, and, uh, and, uh, uh, most of
the haberdashers
might get broke after that.
Yeah.
We, we have to, uh, uh, pause here, uh, Frank.
We'll be back in a couple of minutes.
Uh, Frank Capra and I will listen.
Uh, Frank Capra is here, Carol Keen will join us a little bit later.
Uh, the names that we were, uh, trying to come up with.
Uh, Louis Mayer.
Louis Mayer at MGM, uh-huh.
And the other one, Harry Cohn.
Harry Cohn.
Harry Cohn, who was, who was your boss at, uh, Columbia?
He was my boss at Columbia, yes.
Uh, okay, let's get back to Gable now.
When we saw him in that clip, is that anything like the guy was in real life?
Yes.
That's the, that is the real, uh, Gable.
He was, uh, actually allowed to make only one picture, and that was it, in
which he played
himself.
Uh-huh.
In which he, there he is, just as you see him, that, that's the kind of a guy
he was
in real life.
And that's why, uh, that's why he loved him so much throughout the picture.
He played himself.
He wasn't, in other words, he wasn't acting.
That's wonderful when you get actors who don't act, but who play just as they,
as they
would, uh, uh, if there were no cameras around.
Um, an actor who was, uh, in your estimation, and, and forgive me if I'm
putting words in
your mouth, uh, who was the best at that, was it, uh, Jimmy Stewart?
Yes.
Jimmy Stewart, I think, is the best, uh, uh, actor, uh, that, uh, makes the
audience feel
that, that he is not acting, he's just living whatever he's, that, and, uh,
that's why he's
so effective.
He's just a wonderful actor.
I, I read an interesting quote you had on that topic.
He said, when, when you look at Jimmy Stewart on the screen, you say, you don't
say, uh,
good heavens, what a great performance.
What did you say?
Yes.
Yes.
Not what a great performance, but what a great person, what a great man he is,
and what a
great, what, what, whatever he, whatever he was.
Yeah.
Uh, not, uh, not a performance.
When you say performance, that means you are doing a performance of somebody
else.
You are playing somebody else.
But, but, uh, Jimmy Stewart gets, gives you the idea that there is no
performance.
He is playing himself.
That's the part.
He's living that part.
Yeah.
Is there anybody working today that has that same quality that you feel to that
extent?
Yeah.
Very, very few.
Very, very few.
Very, very few.
They're not allowed to do that.
They, they, they're, they're, they're, they're, they're, it's more, it's more,
they, they have
to act.
Now to act, anybody can act, but very few cannot act and be, and do, and be
their marvelous self.
Yeah.
Just be yourself.
What about, uh, Gary Cooper?
I'm trying to be myself.
And, and, you know.
Oh, you're doing a fine job.
Playing, playing the part of Frank Capra.
Yeah.
Stumbling around.
No, no, no, no, no.
Uh, tell me about Gary Cooper.
I know we, we gotta go away for station identification, but let's get started
talking about Mr. Cooper.
Gary Cooper?
Yes, sir.
I'll tell you one thing.
All the women loved this guy.
Oh, God.
He was the greatest, uh, man.
He, he, he didn't talk much.
He didn't talk at all.
Uh-huh.
To get, to get, to get, to get two words out of him.
That was something.
All right.
Let me, I gotta get some words in myself.
Let me interrupt here.
We'll pause for station identification.
Come back.
Talks more with Frank Capra.
Hi there.
Welcome back to the show.
Uh, Carol Kane will be joining us a little bit later.
Also, uh, Don Washington, uh, is here tonight.
Uh, tomorrow night, chairman and chief executive officer of NBC, Grant Tinker,
will be here.
Uh, actress Margot Kidder and, uh, comedian Harry Anderson.
A fine program for you folks tomorrow night.
Uh, every year about this time, you see one of your, uh, movies.
Uh, it's a good holiday.
Well, it is a holiday film.
Uh, we're going to take a look at, uh, some of that now.
Uh, and, uh, this, I think, uh, is a holiday film.
It's a wonderful holiday film.
Uh, it's a wonderful holiday film.
It's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, how did you happen to fall in?
I didn't fall in.
I jumped in to save George.
What?
George.
To save me.
Well, I did, didn't I?
You didn't go through with it, did you?
You go through with what?
Suicide.
Oh, it's against the law to commit suicide around here.
Yeah, it's against the law where I come from, too.
Well, where do you come from?
Heaven?
Right away.
Quickly.
That's why I jumped in.
I knew if I were drowning, you'd try to save me.
You see, you did.
And that's how I saved you.
Uh, very funny.
Your lips bleeding, George.
Yeah.
I got a bust in the jaw and answer to a prayer a little bit ago.
Oh, no, no, no, George.
I'm the answer to your prayer.
That's why I was sent down here.
How'd you know my name?
Oh, I know all about you.
I've watched you grow up from a little boy.
What are you, mind reader or something?
No.
Well, who are you then?
Client's odd body.
AS2.
Odd body.
AS2, what's that AS2?
Angel, second class.
Is that, um, would that be your favorite movie that you directed?
Yes, it is.
Yeah.
Uh, what about Mr. Smith Goes to Washington?
Another one.
Yeah.
Now tell me about that one.
That, um, Jimmy Stewart also in that.
That has quite a…
What kind of reaction did that get when it first came out?
That has quite a…
Quite a history, and I'm afraid it might be a little long for you to hear.
But we were in trouble with that film.
Uh, we showed it in Washington to a four, four, four thousand people in a great
auditorium,
and they walked out on the thing, and they went thumbs down and all kinds of
things the
first time.
And we thought we had, you know, a very bad, very, very bad show.
Nobody in Washington liked it.
And the reviews were terrible in, uh, in, uh, in the Washington press.
The Washington press, you must understand, is not the same press as there is
around the
world.
They're a really high elite press.
They have a press club all their own.
They can make or break anybody in Washington, but nobody else can.
So they really have a high opinion of themselves.
And when they saw this picture come in, into their, in, in, into their reserves
where they,
where they, where they, where their big power, press, power of the press,
wonderful power,
big power, right there.
And they saw on the screen something come in that had much more power than
their press.
Wow.
Wow.
Well, I can understand how the politicians might object to it, but I, I'm not
sure.
No, the, not the politicians so much as they object to it, as the press itself.
Did they feel that you had scooped them on, on, on covering something?
No, they felt, suddenly they felt a tremendous thing as a reason that we don't
know anything
about that overshadows us, overpowers us.
Film press, film, uh, film power.
Yeah.
And they, first, the first time they saw it, film power.
And they didn't like it at all.
Yeah.
So they gave the film the hell of a thing.
Uh, now, uh, another thing, the, the war was on, and we get a big long telegram
from,
uh, our ambassador in, uh, in, uh, London, uh, that, uh, we shouldn't show this
picture
at all in, in, in Europe.
Oh, don't show it because it, it, it, it's a picture that could be made by the
Nazis in,
uh, in Germany.
And, uh, the allies would, uh, would, would really, uh, not like this picture
at all.
Please don't show this picture.
This is the wire from Joseph Kennedy?
Joseph Kennedy.
Joseph, father of the Kennedys.
And, uh, uh, uh, um, this really, uh, Florida's.
So, so, I, I, I made a great pitch to, to, to people at Columbia.
Don't, don't, don't listen to politicians.
Don't do what politicians, if you give the politicians the power to say to you,
don't run this picture, it'll never end.
All the, they, they can always make you quit.
Now, all right, it's made, it's made, it's made in, in Germany, and they're
made where?
It's lousy.
But don't not, uh, uh, suppress it because the politicians, uh, anyhow, we didn't.
Yeah.
And, uh.
How did that make you feel personally after putting your, uh.
I was scared.
I was scared.
I was scared.
I said, dude, what the hell have we produced here?
A monster?
A monster?
But, uh, in about three years, I was in the army, and I, I, I, we, we, we, we,
we, we,
we got the, we got the, the, the, the top, uh, the, the, the, we got the top of
to it.
It was just perfectly wonderful.
The Germans gave the French 30 days to play Western pictures. Just 30 days. And
they could
choose their own films. Now, the French practically included this picture with
the – with Jim
Stewart in every film they wanted to see. But one theatre played it every day
for 30 days.
It got a full crowd. Mr. Smith goes to Washington. Mr. Smith goes to Washington.
And every time
he talked about liberty, they got a big, a tremendous applause. And this disproved
everything
that that man had to say. I guess they were nervous because you were
getting close to showing that it's possible that there is corruption on all
levels.
That's it. That's right. But I'll tell you, that word freedom, when that came
on, when
that came on in France, just – I mean, the French just knocked the house down.
What are you doing now? Do you ever get an urge to get back into active
production of film?
Yeah. Yeah.
You do? That would be great. Is there any possibility of that happening?
Just urges, my friend. Just urges.
Just urges. It's a delight to meet you, sir. I appreciate your time.
Mr. Frank Caffer, ladies and gentlemen. Good stuff, Frank. Stay right there. We'll
be right back
with Carol Kane.
Thank you.

Frank Capra on Letterman, November 22, 1982, Upgrade, Complete

We have a fine program for you tonight.
Carol Kane will be joining us in the next half hour.
It is both an honor and a pleasure to welcome my first guest tonight.
If you've ever seen a film that he has made, you're no doubt a fan.
The list is awesome.
It happened one night.
Mr. Deeds goes to town.
You can't take it with you.
Mr. Smith goes to Washington.
It's a wonderful life.
Meet John Doe, Arsenic and Old Lace, and many, many more.
Welcome one of the greatest motion picture directors ever, Mr. Frank Capra.
Thank you very much for being here.
What a happy show.
It's a pleasure to meet you.
That list of films that we read off in the introduction.
They're all okay.
Yeah, they're all okay.
When you were working on those projects, did you have any feeling that these
things were going to sustain or withstand the test of time?
No, actually, we thought they were like newspapers, you know, you'd read them
and throw them away.
We didn't have any idea that they'd have any value later on.
When you see them still today, is there anything that just amazes you about
them?
Yeah.
I look at them, I say, they're damn good.
Yeah.
Now, you were, your parents were immigrants, right, from Sicily?
And you were a poor background, poor kid.
How did they feel when you started having overwhelming success in the area of
motion pictures?
Well, I tell you, my mother, she was a hard, hard person.
And she didn't, she didn't, unless you worked, you were a bum.
If you drank or anything else, you were a bum.
Now, she didn't think I was ever working.
She'd ask me, what are you doing when I'm writing?
She'd say, well, who would pay you for writing what?
So, she kept saying to me, Frankie, when are you going to find a job?
A job to her was a hammer, you know, a saw or something, or a hole.
Well, she kept this on all through the time.
Now, when I got finished with Mr. Smith Goes to Washington, I took her to the
preview of it.
She was, first time, she knew what I was doing.
And I took her to a, and I was sure going to knock her right on her can, you
know, if she doesn't want anything.
Well, she sat through that whole thing with, just to watch, after we got
through, people applauded and everything else.
Here was my name and my picture in the hall.
I said, Mom, what did you think of that?
She says, Frankie, when are you going to find a job?
That's amazing.
Did, um, we're going to take a look at now a scene from It Happened One Night.
This is Clark Gable, and I believe this is going to be the famous hitchhiking
scene.
So, we'll take a look at this from It Happened One Night, and then we'll come
back and talk more with Frank Capra.
Watch the monitors here, if you will.
Oh, that's amazing.
Yeah, but it's no good, though, if you haven't got a long face to go with.
Here comes the car.
Okay, now watch me.
I'm going to use number one.
Keep your eye on that thumb, baby, and see what happens.
I still got my eye on the thumb.
Something must have gone wrong.
Try number two.
Well, when you get to a hundred, wake me up.
Thank you.
I don't think I'll write that book after all.
Yeah, I'll think of all the fun you had, though.
Do you mind if I try?
You.
Don't make me laugh.
Oh, you're such a smart Alec.
Nobody knows anything but you.
I'll stop a car and I won't use my thumb.
What are you going to do?
The system on my own.
Was that a little racy for the times?
Oh, not too racy.
Yeah.
No, just a...
No, we had racier than that.
Is it true that this motion picture was one that nobody really wanted to make
or nearly did not get made?
Absolutely so.
Five women turned it down, and two men turned it down, and finally, we said, we
gave it up.
To hell with it.
No, let's not make it.
But an order comes from MGM's boss, who was the boss of all the other bosses,
and he says...
Who was this at the time?
Uh, uh, uh, uh, uh, who was it?
I'll think of his name in a minute.
Uh, uh, I'm lousy on names.
He said, uh, Harry, you've got to make that picture now.
I said, why?
I said, I was out, because I want to, I want to punish a boy down here that's
getting a little, uh, he wants a little too much money.
And I want to punish him, but the punishment meant sending him down to Poverty
Row to let him make a picture down there to see how it was.
Siberia, I'll see you guys, so, uh, uh, that's how we had to make the picture.
We had to make the picture so that, uh, uh, uh, the, the man could be sent to
Siberia.
That was the idea.
Gonna teach him a lesson.
Teach him a lesson.
Yeah.
If he wants more money, let him see what they, how, how it is, what he's
missing up here.
Yeah.
Well, that's the way, that's the way things happened.
That's the way things were made in those days.
Now, is, this is the film where, uh, Clark Gable appeared without his undershirt
at one point?
That's right.
He appeared without his undershirt at one time, and, uh, and, uh, uh, most of
the haberdashers
might get broke after that.
Yeah.
We, we have to, uh, uh, pause here, uh, Frank.
We'll be back in a couple of minutes.
Uh, Frank Capra and I will listen.
Uh, Frank Capra is here, Carol Keen will join us a little bit later.
Uh, the names that we were, uh, trying to come up with.
Uh, Louis Mayer.
Louis Mayer at MGM, uh-huh.
And the other one, Harry Cohn.
Harry Cohn.
Harry Cohn, who was, who was your boss at, uh, Columbia?
He was my boss at Columbia, yes.
Uh, okay, let's get back to Gable now.
When we saw him in that clip, is that anything like the guy was in real life?
Yes.
That's the, that is the real, uh, Gable.
He was, uh, actually allowed to make only one picture, and that was it, in
which he played
himself.
Uh-huh.
In which he, there he is, just as you see him, that, that's the kind of a guy
he was
in real life.
And that's why, uh, that's why he loved him so much throughout the picture.
He played himself.
He wasn't, in other words, he wasn't acting.
That's wonderful when you get actors who don't act, but who play just as they,
as they
would, uh, uh, if there were no cameras around.
Um, an actor who was, uh, in your estimation, and, and forgive me if I'm
putting words in
your mouth, uh, who was the best at that, was it, uh, Jimmy Stewart?
Yes.
Jimmy Stewart, I think, is the best, uh, uh, actor, uh, that, uh, makes the
audience feel
that, that he is not acting, he's just living whatever he's, that, and, uh,
that's why he's
so effective.
He's just a wonderful actor.
I, I read an interesting quote you had on that topic.
He said, when, when you look at Jimmy Stewart on the screen, you say, you don't
say, uh,
good heavens, what a great performance.
What did you say?
Yes.
Yes.
Not what a great performance, but what a great person, what a great man he is,
and what a
great, what, what, whatever he, whatever he was.
Yeah.
Uh, not, uh, not a performance.
When you say performance, that means you are doing a performance of somebody
else.
You are playing somebody else.
But, but, uh, Jimmy Stewart gets, gives you the idea that there is no
performance.
He is playing himself.
That's the part.
He's living that part.
Yeah.
Is there anybody working today that has that same quality that you feel to that
extent?
Yeah.
Very, very few.
Very, very few.
Very, very few.
They're not allowed to do that.
They, they, they're, they're, they're, they're, they're, it's more, it's more,
they, they have
to act.
Now to act, anybody can act, but very few cannot act and be, and do, and be
their marvelous self.
Yeah.
Just be yourself.
What about, uh, Gary Cooper?
I'm trying to be myself.
And, and, you know.
Oh, you're doing a fine job.
Playing, playing the part of Frank Capra.
Yeah.
Stumbling around.
No, no, no, no, no.
Uh, tell me about Gary Cooper.
I know we, we gotta go away for station identification, but let's get started
talking about Mr. Cooper.
Gary Cooper?
Yes, sir.
I'll tell you one thing.
All the women loved this guy.
Oh, God.
He was the greatest, uh, man.
He, he, he didn't talk much.
He didn't talk at all.
Uh-huh.
To get, to get, to get, to get two words out of him.
That was something.
All right.
Let me, I gotta get some words in myself.
Let me interrupt here.
We'll pause for station identification.
Come back.
Talks more with Frank Capra.
Hi there.
Welcome back to the show.
Uh, Carol Kane will be joining us a little bit later.
Also, uh, Don Washington, uh, is here tonight.
Uh, tomorrow night, chairman and chief executive officer of NBC, Grant Tinker,
will be here.
Uh, actress Margot Kidder and, uh, comedian Harry Anderson.
A fine program for you folks tomorrow night.
Uh, every year about this time, you see one of your, uh, movies.
Uh, it's a good holiday.
Well, it is a holiday film.
Uh, we're going to take a look at, uh, some of that now.
Uh, and, uh, this, I think, uh, is a holiday film.
It's a wonderful holiday film.
Uh, it's a wonderful holiday film.
It's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful holiday film.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, it's a wonderful movie.
Uh, how did you happen to fall in?
I didn't fall in.
I jumped in to save George.
What?
George.
To save me.
Well, I did, didn't I?
You didn't go through with it, did you?
You go through with what?
Suicide.
Oh, it's against the law to commit suicide around here.
Yeah, it's against the law where I come from, too.
Well, where do you come from?
Heaven?
Right away.
Quickly.
That's why I jumped in.
I knew if I were drowning, you'd try to save me.
You see, you did.
And that's how I saved you.
Uh, very funny.
Your lips bleeding, George.
Yeah.
I got a bust in the jaw and answer to a prayer a little bit ago.
Oh, no, no, no, George.
I'm the answer to your prayer.
That's why I was sent down here.
How'd you know my name?
Oh, I know all about you.
I've watched you grow up from a little boy.
What are you, mind reader or something?
No.
Well, who are you then?
Client's odd body.
AS2.
Odd body.
AS2, what's that AS2?
Angel, second class.
Is that, um, would that be your favorite movie that you directed?
Yes, it is.
Yeah.
Uh, what about Mr. Smith Goes to Washington?
Another one.
Yeah.
Now tell me about that one.
That, um, Jimmy Stewart also in that.
That has quite a…
What kind of reaction did that get when it first came out?
That has quite a…
Quite a history, and I'm afraid it might be a little long for you to hear.
But we were in trouble with that film.
Uh, we showed it in Washington to a four, four, four thousand people in a great
auditorium,
and they wa