What are you doing? This is my part! Oh, you jerk! Oh! Who do you think you are? As God is my witness, they're not going to lick me. I'll live through this, if I have to lie, and steal, and cheat, or kill. As God is my witness, I'll never be smalltime again! >> Hi, welcome to Director's Cut. I'm your host, Pete Schwaba. That was a clip from Desperation Boulevard, a film that tells the story of former child star Joan Sweeney, as she tries to put herself back on the map. As you can see, she's willing to do anything to do it. We're joined today by the film's director/writer and Director's Cut alum, Greg Glienna. Greg, welcome back to Director's Cut. >> Nice to be here. >> Tell us about that scene. Was that the scene that, when you start to write a movie, you have that scene that triggers the whole thing? >> Pretty much. I remember, right before she shot that, we watched the clip from Gone with the Wind, that that's kind of a parody of, so she would get into the right spirit and frame of mind. >> That's Judy Tenuta. >> That's Judy Tenuta. >> Playing the lead role. >> A lot of people ask me, was that in front of a green screen, that shot of Hollywood. But no, we were actually standing beneath the Hollywood sign. >> Over-the-shoulder shot onto the Hollywood sign, that's pretty cool. >> It actually looks fake. >> It's so real, it looks fake. That's what a good job you did. Are actors willing to do anything to stay in the limelight? Is this based on any stories you know? >> You worked in LA, don't you know the answer to that question? >> Yeah, I don't know if I ever made a speech like that. >> Well, pretty much everything that happened in the movie was based on something like-- Who was arrested for shoplifting? Was that Dana Plato? She was actually in the movie, Dana Plato. >> Yeah, I think we have a scene with her coming up. That's happened to a lot of them. >> Yeah, pretty much everything was based on some-- The whole homeless thing, I think, was my imagination. >> Right, ordering the pizza. You've got a lot of really great solid acting in this movie. But I think none more so than the security guard that threw Joanie out of the studio. Where did you find that guy? >> He was someone's nephew of one of the backers, and we had to put him in. >> I am someone's nephew. >> I had to work with him for months to get him ready. >> It was the most takes. >> Oh, it was YOU, that's right! No, you were great. >> You called me and you said, do you want to make 50 bucks. I had just moved to town, and I was like, I think so. What do I have to do? >> Was it that much? Geez, you got a good deal. >> It was a big budget. Talk a little bit about your cast. You have a great cast in this film. >> We had a lot of the actual former child stars playing themselves. We had Dana Plato. It was actually her last movie before she passed on. We had Burt Ward, who was Robin in Batman. We had Eddie Haskell, the guy from Leave It To Beaver. And Erin Moran, of course, from Happy Days. >> Michael Lerner. >> Michael Learner was great as her agent. He was a joy to work with. >> I should probably say, you and I have written quite a bit together. We've sold some scripts. We've had the opportunity to sell some scripts to studios. What would you pick, I think I know the answer to this, but independent film or studio? Would you take the big bucks and go studio, or would you rather do another film like this? >> That is a hard question. Because, do I want to be artistically somewhat fulfilled, and make no money, or do I want to be embarrassed and make a lot of money. That's, I'll get back to you on that one. >> Okay. Let's see another clip from Desperation Boulevard. >> Angel? Angel, where are you? Angel? >> What is it, Daddy?
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>> Where in the heaven have you been? >> I'm sorry, Daddy, I was giving a man directions. >> Directions? In heaven? >> Yes, it turned out he was in the wrong place, though. >> The wrong place? Who was he? >> I didn't quite catch the name. He had a tiny mustache and he talked in German. And he said "Heil!" a lot.
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>> I hope you told him where to go.
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Listen, Angel, there's something I'd like you to do for me. >> Okay, Daddy. >> I'm having some associates come over tonight to play cards. And I thought that since I'm the only one who can see or hear you, I thought maybe you could, oh, fly around the room and tell Daddy what the cards are that the other men are holding.
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>> That sounds like cheating. >> Well, it's not cheating, exactly.
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>> I don't think God would like it. >> Well, why don't we make it our little secret... >> I just love that little girl. She's so cute. >> She's not a little girl anymore. This show's over 30 years old. >> My daddy's the best daddy ever!
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>> I wonder what she's doing now. >> I can't believe it's really you, God, bless you.. I used to watch your show every week. I still watch it in rerun. You were such a beautiful little girl. >> Oh, thank you. That's really very nice. >> Would you mind saying one of those things you used to say on your show, if it's not too much to ask. >> Sure. Uh-oh, my daddy's in trouble again! >> That's wonderful. Wonderful. >> My daddy's the best daddy ever! >> God bless you. You've given so much joy to so many people. >> Thank you. >> Good bye. >> Thank you. >> After you've gotten an autograph from our television star, maybe you'd like to take a look at some of our fine used autos. Here at Budget's Wonderful World of Autos, nobody beats our prices. >> Show business at its finest, hanging in a used car lot, that's great. We saw a little bit of the show there, from when she was a child, Daddy's Little Angel. Mike Toomey, by the way, another friend of ours, he actually could be Ward Cleaver, I think. But what, talk a little bit about what it's like, you have a lot of these in your movies, these little vignettes, TV shows, commercials, movies. Are you worried that those will take you a little bit out of the movie? Talk about walking that line a little bit. >> Well, I liked this movie because it was a chance to really parody show business. So I had every form of show business. We had a low budget movie in it. We have a musical. We have an infomercial. So, I could parody every kind of facet of show business. >> Do you almost like doing that more than the actual movie? Because you do it quite a bit. They're all very funny. >> By doing it, you mean these little...? >> Yeah, it seems like it's a separate day of shooting and production. >> Yeah, I think the most fun was to shoot, we see an excerpt from a low budget horror movie that she does, The Girl Scout, that was so much fun, because you could break the rules. We had the camera, the mic actually dipped into the shot. >> Right. >> Costumes that don't match. That was fun to shoot. >> You see that, unfortunately, I think in big budget films. You still see those mistakes, which is surprising. >> This was a lot of fun to make. >> You have a lot of sad, tragic music in your comedies. Talk a little bit about, like, sad-sack music and how it relates to comedy. Do you like watching people suffer, Greg? >> I think that is comedy, basically, watching people suffer. A lot of the comedy I like is kind of like, I think of it as mock tragedy. It's like, you know, so putting that kind of sad music, kind of emphasizes that fact, I think. But what's happened to her is horrible. She's hanging from a crane in car lot. Her career is nowhere. >> It's funny if it's not happening to you. >> Exactly. Comedy is basically anything that's not funny that happens to somebody else. >> But not too far. >> Too far, it's tragedy. You've got to ride that line of like, horrible but tragic. >> The rules of comedy, there you go. Do you know an actress like Joanie, or Joan Sweeney? Is this based on any one particular person? >> Well, there's a lot that Judy herself could relate to, I think. >> Really? >> There's a scene in the movie where Michael Lerner is telling her he got her a gig at a comic book convention, or one of those autograph things, and like a month later, Judy did one of those in real life. >> Oh, that's funny. >> She got offered one. But you know, just from reading about show business and living in LA. >> How did this, how did you, what made you want to write this, I guess? Tell us how production got started. >> Well, Judy actually contacted me. She had seen my Meet the Parents, and she wanted to do a movie with me. >> Just to clarify, you wrote Meet the Parents as an indie film that got remade into Meet the Parents. >> I thought everyone knew that. >> So she had a couple ideas, and in one of the ideas, she played a former child star who, you know, was trying to make a comeback. I thought, you know, that's great, because I do a lot of show biz stuff, so I took that idea and wrote the script. You know, she had the money raised, so we made it. >> Did she use her own money? >> Partly, but she also had some investors. >> So it was basically a vehicle for Judy. >> Exactly. >> It was her brainchild and she came to you. That's interesting. So that's not, is it kind of more like a studio experience, because she was telling you what to write? Or did you have to approve it, is there a little bit of that? >> Yeah, no, she had final say. The one thing I'm not happy in the film is the ending. The ending in the actual film was shot as a dream sequence. >> Okay, I remember that. >> But the original ending I wanted, she thought was too downbeat, and not realistic. It was realistic, and it would've been funnier in my opinion, but. >> There you go. Executive producer credits. >> Judy. >> That's right. Let's see another clip from Desperation Boulevard. >> So I went to this audition yesterday, and after I finished reading, the guy says to me, could you make it a little more Eddie Haskell-like? I said, hey, there's more to me than Eddie Haskell. I'd swear, I haven't had a decent role since they stopped using vacuum tubes. >> Hey, guys, after this hand, do you want to see my new infomercial about colon cleanser? I've got it right here. >> You showed it to us two weeks ago, Joanie, right after I showed you my infomercial on Boy Wonder Barbecues. >> But Burt, this is totally different, 'kay? I mean, this is the director's cut. There's a lot of stuff in this you guys haven't seen yet. I've got to get myself a new agent. >> You're really lucky, Joanie. It seems like your agent works really hard for you. >> Manny? I guess he does. >> Do you think he'd be interested in taking on any new clients? >> You know, I think his plate's really kind of full right now. >> Oh, yeah, I guess it would be. It must be hard to book someone that was on TV such a long time ago. I'll take three. >> Well, Erin, I really wouldn't worry too much if I were you. I'm sure you can always get some extra work from Ron Howard. I'll take two. >> I have an auto show in North Carolina next week. >> Really? How's the money? >> It's not bad. >> Maybe I should call Adam and see if I can bring in the Batmobile and you know, sell some photos. >> Who's booking it, Dana? >> I don't know. Shoot, you know how I am. I don't pay any attention to those things. They just get me there. No clue. >> Likely story. >> And believable. >> Yeah, right. >> We're back with Greg Glienna, writer/director of Desperation Boulevard. I love that scene. Was it hard to get those actors to do that scene? You have Burt Ward, who was in Batman, Erin Moran, Happy Days. >> Yeah, I don't think it was that hard.
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>> That's kind of tragic, too. >> You know, Erin Moran, I'd written that whole Joanie thing. She had to say yes, or I would've had to rewrite the script. >> Wow, yeah, she comes back. >> I found out who her agent was and contacted that agency, and they said, oh, we don't represent her. Then they called back, they did, but they didn't realize it. >> That's terrible. >> She agreed to do it. >> When you do a scene like that, they all obviously have to have a sense of humor about themselves. Was it that? Or was it a chance to work again, or was it both? >> I know Erin. She found it very funny. They seemed to all enjoy doing it. That scene was actually ripped off by a movie called
Dickie Moore
Child Star, with what's his name? >> David Spade. >> Yeah, they had a scene that was very similar. >> Really? Imitation is the greatest form of flattery. >> Yeah. >> They're not even in the business. Like, Eddie Haskell doesn't even, isn't he a police officer right now? >> I think he was even at that time. He probably does stuff that comes up. >> Okay, so Judy Tenuta is the lead. She was a standup comic. She's very over the top. She's done accordion and Worship Me, Pigs, that was kind of her-- Were you at all nervous? She's a friend of yours. So she hires you to do this, are you nervous about directing her, because film acting is a totally different animal. Talk a little bit about that, as a director. >> Judy is very funny, but she tends to be, as you said, larger than life. That was kind of a challenge. I think she did great in the film. That was kind of a challenge, keeping her, I always had to keep an eye on her, just so she didn't go. >> Into one of her stand-ups. >> There's a scene in here where she has to imitate a lesbian for a scene. She loved doing that. She looked forward to that. She was, when are we doing that lesbian scene, because she could just pull out all the stops, and be over the top. She's funny in it, but. >> She does that Roseanne in the movie, too, I think. >> Is that's still in there? >> That's still in there. Thanks for doing your research before coming on the show. There's so many child horror stories about this. This is a pretty popular topic, because it seems like over and over, you read, every time you watch the news, it's another child start getting into trouble. Is this ripe for another Meet the Parents situation, where a studio could see it and want to remake it? Start another franchise? >> I wouldn't mind, actually. If you know somebody. >> I don't know anybody. But what elements, who would you go to know to cast something like this? I'm sure Judy would probably still want to play herself. >> Maybe Sarah Jessica Parker, or someone like that. There's a lot of people. >> What's your favorite part? You wrote and directed this. What's your favorite part of that process, writing or directing? What's the hardest? >> I love editing. This one, we ran out of money in the post production, so I had to edit this thing in two weeks. I would love to have take another crack at it, but that was something. I generally like writing better than shooting. Writing, you know, you have this image of what it's going to be in your head, and it's great. Shooting is constant compromise. You know, there's always problems and there's always things you have to work around. >> What happened on this set? Any horror stories like that on this? You shot in LA. That had to be tough. >> We shot one week in Chicago and then two weeks in LA. Most of the LA stuff was studio. It was on the set. Chicago was much easier to film. I remember we had a scene in a restaurant, and they basically closed down half the day. We'd go in there in the morning. They were just so happy that people were filming a movie there. Where in LA, they'd be like, okay, $50,000 for the hour. >> Yeah. Well, let's take another look at a clip from Desperation Boulevard. >> Roger will be reading with you, if that's all right. >> Sure. >> Okay, we'll be doing the scene between Little Angel and the old beggar woman. So, whenever you're ready, let's begin. Uh, the old beggar woman has the first line, actually. Okay, let's start. >> I'm ready! >> Great. The old beggar woman has the first line. So, you start. >> What? >> I said the old beggar woman has the first line. >> Yes. >> So, that's your line. >> What do you mean? >> The old beggar woman has the first line. You're reading for the part of the old beggar woman.
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>> No, that's not right! I'm Angel. >> No, Angel's a little girl. We're reading you for the part of the old beggar woman. It's a cameo. >> No, I'm Angel. That's my part. I don't understand. >> Miss Sweeney, did you talk to your agent at all? We made it very clear to him that we were calling you in here to read you for a cameo role of an old beggar woman. >> But can't I read for Angel? >> What do you mean? >> Well, I'm Angel. That's my part. >> Angel is seven. >> Angel is seven. Could that really happen? >> We should explain that they're doing a big studio remake of her show, so she's in there to do a cameo. >> She thinks she's actually reading for the seven-year-old girl. >> It's tragic. Judy would actually get tears in her eyes doing that scene. That hit some home with her in some way. She would actually do that scene, and she'd be crying. >> That's one of those, you and I have had discussions about this, too, in the past, about how underrated actors are in comedies, because to do comedy well, you really do have to be a good actor. >> Yeah. >> That's a very dramatic scene. A scene we've talked about is Lost in America, Albert Brooks. Very great acting. Talk about that. Does good comedy have to be great drama? >> I think you still have to be believable. Charles Chaplin had a great quote that I always use. He said, "If what you're doing is funny you don't need to be funny doing it." I told Judy, play it like drama. This is not funny to her. This is tragic for her. >> It's just funny to us. >> There's a scene in here where she goes to a priest. Do you remember that scene? >> Yeah, great scene. >> That guy told me, when I first read this I thought it was sad. Then I read it a couple of times and oh, this is actually funny. But when he first read it he thought it was a tragedy. >> My favorite part about that is the camera guy that looks up. He's like-- >> Yeah. >> Who are your comedic influences? >> I love a lot of the silent movie guys. I love Chaplin and Buster Keaton. I love Laurel and Hardy. So a lot of those old comedians I like. >> What are some of your favorite comedies? I would assume they would be along this line. I know you mentioned Charlie Chaplin stuff. What are some of your favorite, most influential comedies, actual movies? >> Well, anything Laurel and Hardy ever did, Albert Brooks' Lost in America. >> I know you're a big Woody Allen fan too. >> Woody Allen, a movie called The In-laws. >> Oh, yeah, great film. >> But I tend to like the comedy that is kind of sad/funny in a way. >> You were in this movie, you were in Meet the Parents, the indie Meet the Parents. You were in this, it was a smaller role. Talk about directing yourself. What kind of challenges does that bring. >> I don't really think-- This film and my Meet the Parents were done so low budget and there were so many things on my mind, acting is like an after thought. >> Yeah, well here's the thing. No, I'm joking. You did a good job, but do you worry? Do you have somebody watch your acting? When you're in the scene is there somebody paying attention to what you're doing or giving you notes maybe? Must be nice. >> Yeah, I had the producers and the people around. You know I usually do one take or two takes at the most, so there's not a lot of time to really worry about your performance. >> You're not worried that you're going to go, okay, we can move on. And someone's going to go, are you sure? >> It never came up. >> What's your favorite scene in this movie? You've got these great set pieces, the poker game with the former child stars, the audition. >> I like the scene with the priest where she goes in to get advice on her situation. I always thought that was a good scene. Judy was good in it. We did a musical Anne Frank and we ended up cutting it. It's in the closing credits, but I wish we had left it. I loved that scene too. I wish we had left it in there. >> And that story is ripe for a musical, let's be honest. >> Yeah, the Anne Frank musical. >> Let's take another look at a clip from Desperation Boulevard. >> I just never want to be treated like that again. I'll do whatever it takes. >> I am so happy to hear you say that, you know that? Because I have something in mind that's going to put your name back on the front page of every newspaper in this country. >> What is it?
telephone rings
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>> Sorry. Ugh, yeah? Ugh, hey, Sandusky. Hold on. One of my other clients is at an audition today. Yeah, right. So, what did you think of Steve, huh? Mm-hmm. Didn't I tell you he'd be perfect? He's got a lot of talent, the kid. Oh, no, no, no, no, no. That won't be a problem for him at all. He can get it up and keep it up, a full ten inches. We got a deal, right? Okay. All right, send me all the paperwork. Talk to you later, bye. Sorry about that. What was I talking about? >> You were about to tell me your big idea to put me back on top again. >> Oh, right, right, right, right. Now, I don't want you to rush to any hasty decision here, okay? Keep an open mind. >> What is it? >> You come out as a lesbian. >> But I'm not a lesbian. >> What difference does that make? Lesbians are hot. Ellen Degeneres, KD Lang. Everybody loves lesbians. I know I do. >> I don't know. >> No, it's perfect. It's perfect. You said you want to come back on top again, right? Well, what you need is publicity. "Daddy's
Little Angel
A Lesbian." >> He's so great in that movie. >> Is there such a thing as bad publicity? I used to think, at times you'd hear something happen and go, oh, they're done. Sure enough, they go away for a year-- Is there bad publicity? >> It depends if you have artistic standards or just want to be famous. But he was so great in this movie. He did line for line, but he makes it sound like he's just so casual. >> Off the top of his head. That was going to be my question. You got this great actor, one of my favorite actors, Michael Lerner. He's been in Coen brothers' movies, Woody Allen movies. Is it intimidating? You're directing this little indie and you've got this guy that's work with a lot of heavy hitters as directors. Is that intimidating at all? >> It was at first. I think he had to adjust to our schedule. He couldn't believe how few takes we were doing. Once he understood that we only did one or two or three takes tops, he got on the ball. He's be like, that's it? >> It's low budget, you can't mess around. >> I asked him about-- He had just done a Woody Allen movie, Celebrity, and he said he worked for scale. I go, why don't you work for scale on our film? We said, you didn't make Annie Hall. >> That's good honesty right there. What was the challenge-- This was a bigger budget than you Meet the Parents, right? >> Anything would have been a bigger budget. >> Right, then talk about differences in making your Meet the Parents and this film. Was it easier to make this with more money or does it force you to be less innovative. >> This film was a lot more ambitious. My Meet the Parents basically took place in a house so it was much easier to do on a low budget. This had locations in Chicago and LA. This was a harder-- So even though there was more of a budget it was still a harder film to shoot. I think this film was harder to shoot. >> And your salary was half the budget. That doesn't help either probably. >> Yeah, I wish. >> Well Greg, it's a great film. Do you have a website or anything that you want to plug? Can we see it somewhere other than here at Director's Cut? >> It's available on various-- >> YouTube? >> eBay, Amazon, kind of thing. >> It's a great film. We enjoyed it. Thanks for being here. Thanks for being here at Director's Cut. And thank you for watching Director's Cut. For more information on Desperation Boulevard please go to wpt.org and click on Director's Cut. I'm Pete Schwaba. I'm off to see if Joanie's agent is taking on new clients. We'll see you next time on Director's Cut. >> Time's up. Hello?! Anybody?
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