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KENT'S CLASSICS: The Hammer Strikes! · Cinema Yūgen

• 0:00
  G'day, that's right, it's that time again. Time for CINEMA UGAAAAAY!
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  Music.
• 0:17
  Yes, Uganites, Kent's Classics for this month, the fan-requested classics,
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  Fred Williamson. The Hammer!
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  Fred the Hammer Williamson. If you've seen movies like Black Caesar,
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  Hell Up in Harlem, Bucktown, Me and Johnny Barrows, No Way Back,
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  One Down, Two to Go, and of course, Dust Till Dawn, and a whole lot more.
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  I sat down for a cigar with the man, the legend.
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  He really needs no introduction But in case you don't know him There will be
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  a link in the description And go check out the work Of the Hammer Fred the Hammer,
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  Williamson here he is Dude what else would I be doing Oh man I don't know I
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  suppose if you were down under We'd be sitting having We'd be sitting having a cigar together,
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  I'm having a cigar on the patio right now Because it's raining so
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  I love smoke on the patio when it's raining man it's like
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  takes me back to good old Melo days man back in Chicago and relaxing and when
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  I'm in Rome when it's raining I love rain I'm a Midwestern I just love the sound
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  of the rain it's very calming oh yeah well I suppose we'd have to we'd have
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  to have a cigar somewhere where it is raining because in Australia we don't get too much rain.
• 1:41
  I live in Palm Springs. We don't get too much rain here. That's why I'm so excited.
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  It rains maybe once every two years here, man. So I'm excited by seeing the rain.
• 1:50
  Yeah. So that's why I'm excited. Palm Springs is a desert. We get no rain here.
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  Wow. Yeah, Australia's a bit the same.
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  But, yeah, that's awesome.
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  I'm glad I'm sitting down, Hammer, because this is a real honor for me,
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  man. I love all of your movies.
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  Is you didn't you didn't mention from death to dawn dude that's
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  that's the latest that's everybody seems to be getting a kick out of that
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  sucker yeah no i mean i i i love i
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  i love that too but i mean i you know i
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  love uh you know all of the the pitches where
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  you were you know you can't get them all you can't get them all man there's
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  like 60 65 of them you can't get them all i know i know so i figured maybe just
• 2:33
  just to kick off i know that there's always people who who listen to the show
• 2:38
  that aren't as cinema savvy as others.
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  So I was wondering if you might just very briefly, to start off,
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  just give people a little bit of history of how you came.
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  A lot of people know that you played football before you were an actor.
• 2:57
  Right. If you could give people a little bit of a backstory of how you came to the film business.
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  This well first of all i was
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  i'm a college graduate from northwestern university with an architecture engineering
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  degree so being in the movie business was far best far best for my mentality
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  also playing pro football was not something that i had saw in my future but
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  at northwestern i was good at it so i was fortunate enough to uh to take it off into the pros,
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  and it gave me an inroad because i created an image and my image i'm very lucky
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  that my image that I have on the screen is close to my image in real life,
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  and what I portrayed on the football field as a badass.
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  And a lot of movies that I make are like Eastwood, Bronson combination would always have a badge.
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  So when he booked me like in Black Cobra, I'm a badass with a badge.
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  So I have an image that works for me and I'm lucky that the fans see it the same way.
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  And that sort of helps, keeps me working, keeps me going.
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  Being in the movie business is something that happened once I stopped playing
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  football and went full-time as an architect.
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  I could not make the transition comfortably. Sitting behind a desk doing 9 to
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  5 at an hour for lunch just did not fit my personality.
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  So one night I'm looking at television and I see Diane Carroll,
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  first black actress to have her own television series. It was called Julia.
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  And I noticed that the guest star role each week was a new boyfriend. friend.
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  And I said, wow, man, I'm better looking than any of those guys.
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  I'm going to Hollywood to become Stanfield's boyfriend on the Julia show.
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  It took me three days to accomplish that. They signed me to a three-year contract
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  to play her boyfriend on the Julia show.
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  Fortunately, it was at 20th Century Fox. I was sitting in the commentary one
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  day and a guy walks by and he says, you're the Hammer, right? Yeah, I'm the Hammer.
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  He said, I'm doing a movie. I got a football scene in it. I don't know anything about football.
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  Would you direct or cast all the football players so I could have a legitimate
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  football game in the movie. I said, yeah, no problem.
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  The guy was Robert Altman and the movie was MASH, my first movie.
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  Fantastic. What a beginning.
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  Yeah. You got to have a beginning at something. When you go for something,
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  the worst thing somebody can say to you is no.
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  But no is a good thing because no gives you an opportunity to go back and correct
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  your faults and come back again.
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  And every time they say no, you get better and better.
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  So pretty soon, that no gets tossed out of the window. Yes will eventually take its place.
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  Yeah. Now it's...
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  And there's so many incredible stories about how people come into the film business.
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  Some, you know, it's like that old saying, isn't it? Like some are born to greatness,
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  some achieve greatness, and some have greatness thrust upon them, don't you think?
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  Yeah, a combination of all of that would be perfect. But being thrust upon you
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  doesn't work in Hollywood.
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  You have to bring something to the table that has some financial value.
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  You and don't think it's all about you love
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  them and they love you it's not about that the moment you stop
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  making their money you no longer exist so i
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  didn't want to wait for that to happen that's why i started
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  making my own producing my own i learned
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  the business of the business while i
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  was working i absorbed everything around me i
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  watched what they did i i bugged the crew what do you call that
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  thing why are you putting that over there what is that over there i bugged
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  them by the time I got ready to do my own I was
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  qualified technically to make a
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  film so then I had to learn the business of the
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  business so the first thing I did was I went to con I went to
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  con France I sit on the patio of the Carlton Terrace because I heard that's
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  where all the big high rollers hang out I gave them a to be $50 a day to save
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  me a table the middle of the patio but the Carlton Terrace yeah I just shit
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  and I watched and I learned how to deal yeah because that's I mean And really,
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  at the end of the day, after all the filmmaking is done,
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  it's all about selling it, isn't it?
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  It's all about selling, but then you've got to know who you're making the movie for.
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  Making a movie is maybe simple to some people, but you better know who your market is.
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  You better know that guy on the corner. When you pass by him,
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  ask him, I'm getting ready to make a movie.
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  It's going to be in here. It's going to happen. Would you go see it?
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  If he says, what? You're going to do what? What kind of movie?
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  Forget about it. Change your movie. do something different, or cast it different.
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  You've got to talk to the people on the street because that's who you're making it for. Yeah, exactly.
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  They're your audience, and the people are going to line up and buy movie tickets,
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  as is commonly... But unless it's a Hollywood film, right?
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  They make it for $90 million, then they spend $10 million with TV ads making
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  a lot of noise on television.
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  They make you run to the TV when you hear all this noise. You run to the TV and see what it is.
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  You certainly realize after a few years that's the
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  that's the heart of the movie that noise that you hear
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  for 10 seconds is a damn movie yeah and
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  then of course it's on bus sides and billboards and
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  and everywhere else yeah yeah they spend so much money on the independent independent
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  the mentality of an independent filmmaker has to be much more different than
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  the hollywood guys because we don't have the money to have the special effects
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  because today special effects is the star of the movie.
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  You have to have a story that people are interested in, keep their interest.
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  Special effects, you don't have the money, you better have a good story.
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  I like the story you told once that when you made one of your first independent
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  pitches, No Way Back, and you went to the Cannes Film Festival and you put little
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  girls in tight t-shirts long before it was popular,
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  and you sold the heck out of No Way Back.
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  After I learned I learned how to get the financing.
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  I sold the film with just a poster because I didn't have the money to make the
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  film, so I sold it with a poster.
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  And I did it by doing the t-shirts with the girls.
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  I took the contracts from the foreign buyers back to the bank here in America.
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  They loaned me money against the contracts.
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  I made the movie and I delivered the movie to the buyers. That's the way I first
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  started making my movie.
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  Totally. So, Hammer, I wonder if we might just take a little trip down memory
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  lane before we talk about the latest and greatest film that you're in,
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  that we're talking up today, which is Nazi Doomsday Device, also known as Atomic Eden.
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  I just handpicked a couple. These are some of my absolute personal favorites of yours.
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  And if you could maybe tell us a little bit, if you have some reminiscences or something like that.
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  The first one I love. I absolutely think this is a great film.
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  And it also puts you alongside some of the other legends, like Jim Brown and
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  Richard Roundtree, and, oh, the other Jim.
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  Kelly. Yeah. Jim Kelly. Jim Kelly, yeah. And it's called One Down and Two to Go.
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  Man, I love that movie. It's just like the ultimate cast.
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  There's you know you Jim Brown and and
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  Richard and Jim and it's just
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  wow I mean what a lineup right it's almost
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  like in modern times where you have like the big like George
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  Clooney and Brad Pitt and all that sort of stuff but it was it was you guys
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  all together in this movie what was that like it was actually a sequel it was
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  actually a sequel to Greta Hardway to put put us back together again this is
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  the majors didn't see seize the idea they didn't see it as a profitable thing to do.
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  So I seized it upon myself to bring a sequel to Three the Hard Way,
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  which is one down, two to go.
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  Now, these guys are my friends, personally. So it was easy for me to write their
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  character as I know them.
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  I know Jim Kelly is a martial arts.
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  Roundtree is a cool-looking guy that shoots a gun.
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  Jim has this facade of being an angry young man who can kill you with a look.
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  And I'm the dandy Don. I'm the smooth, sweet-talking one to make this combination
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  work because we all can't be tough guys. Somebody has to be different.
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  Personalities have to be different to make it work. Everybody can't be heroes.
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  So I didn't write it for them to be heroes.
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  Each guy got caught in his own situation. Each guy had to defend himself the
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  way he thought was best to do it, and that's what made the movie work.
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  Yeah, it's awesome. some awesome stuff another
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  one that i'm very partial to a lot of
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  people are well aware that early on
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  we australians haven't been too influential worldwide or you know back during
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  this film's release anyway weren't too influential but we did make one film
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  that broke through and became such an influence through europe and america it
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  was a film called the road warrior,
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  and in the wake of the Rogario there were all kinds of,
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  spoofs and rip-offs. One of them was Warriors of the Wasteland,
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  which was an Italian production, which you're in.
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  Can you tell me, man, that's a wild, like, I mean, it takes the road warrior to a whole new level.
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  What was it like making Warriors of the Wasteland?
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  That's an Italian philosophy. They like to copy things and put their Italian touch on it.
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  And that's really kind of what they did because they don't have the money.
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  Really to have all those machines and all those cars and all those things that
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  they had in Road Warrior.
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  Yeah. But they try to give you characters like Road Warrior did. Yeah.
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  So I played this character who fits my image.
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  I sell a brand. I don't just come into a movie as an actor. I sell a brand.
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  Like, you can't kill me in a movie. Yeah. I have to win all my fights in a movie.
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  Yeah. And I get the girl at the end of the movie. Now, these are the things
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  I demand, but I give in to one of them because I know they're not going to do all three.
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  And the one that I know they're not going to give me is guaranteed that I can
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  have the girl at the end of the movie.
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  But I know damn well I can guarantee they can't kill me and I have to win my fights.
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  So as long as I keep that standard and that image, I'm not surprising my fans.
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  They know when they see me in a movie, they know what they're going to get.
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  I don't sing. I don't dance.
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  It's not that I can't. I may do it in private. I may do it at a party,
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  but I'm not doing it on the screen.
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  So I sell an image, and I don't deviate from it. And this film fit my image perfectly.
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  That's great. That's great. I just I've seen it since It's been restored There's
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  been a different transfer made of it Recently Because for the longest time it was just.
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  Very very gauzy sort of old vhs but
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  they they recently did a bit of a must had
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  a transfer from a master tape or something on it and
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  it's it's really something to see it is completely bigger
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  it is it is completely wild but it was wonderful you know of course being a
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  fan of of yourself to see you in that kind of movie i guess the other one the
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  i actually watched this last night in preparation for our little chat was The Inglourious Bastards,
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  not to be confused with... Oh, yeah.
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  Yeah, not to be confused with Quentin Tarantino's Inglourious Bastards.
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  Well, our movie was a fun movie.
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  Quentin was a more violent movie. Our movie was a fun, pleasant action kind of film.
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  Yeah. Quentin was after the blood, the guts, and the glory.
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  Luckily, the Italians didn't go for that in their Inglourious Bastards.
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  It was a story about three guys who are trying to get away from the war,
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  trying to get out, and all of a sudden they discover they can do something to
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  help the war by destroying this train that had a bomb.
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  That's why it's called Inglourious Bastards because on the way from escaping
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  from the war, we decided to change and do something positive for the war.
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  So we became Inglourious Bastards.
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  Yeah, that's great. What was... An actor I always admired, But,
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  of course, he's long passed away now.
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  What was Bo Svensson like to work with?
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  Bo was still alive. Bo was still around. Was he? Oh, okay. Wow. Yeah.
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  Yeah, I mean, it's kind of hard to kill. It's hard to kill an asshole.
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  But he's still around. Oh, wow. Okay. Wow, I take it back.
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  You know? No, no. His career may be dead, but unfortunately, he's still around.
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  Oh, really? Okay. Fair enough, enough said Anyway,
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  let's talk about the movie in question It's a wonderful action picture Which
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  you're headlining From Nico Centner It is known as Atomic Eden But it's also
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  being dubbed Nazi Doomsday Device Hammer,
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  how did you come to be involved with the movie?
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  Well, I try to help.
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  Independent young directors or producers helped them
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  out get into the business and he brought this project to
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  me and i said okay i'll help you do
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  it you know you don't have to pay me any money to do this i'll i'll help you
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  because the character you want me to play is definitely not destructive to my
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  image as long as the film adheres to my image my my what i'm selling then
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  I can help you because I have a philosophy in all the work that I do, not just in this one,
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  which is I may be in a bad movie,
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  but I would never be bad in a bad movie.
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  So I didn't know where he was going with the project, but fortunately it turned
• 17:24
  out to be a fairly decent project.
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  It turned out to be pretty good. It turned out to be interesting.
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  It didn't have the special effects, but you'll never know that based on all
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  the people that we shot up and all the fighting and shooting that we did,
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  blowing up a building. I mean, all that stuff was available to him.
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  I think that's where he got the idea. He had this building that he could blow
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  up and that we could shoot in.
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  And so he decided to make this kind of movie. And so that was very interesting
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  to me to be involved in this kind of project.
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  And I love working in Europe anyway. I mean, I love working there probably more than in the U.S.
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  I have more fun working out of the country than I do in America. Right, right. Right.
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  And, I mean, again, I mean, it's good solid territory for you because,
• 18:08
  again, it's like Inglourious Basterds. It's men on a mission, right?
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  Yeah. You know, it's men on a mission.
• 18:14
  Yep. And it's a mission to, you know, you're there trying to survive,
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  but you're also still trying to...
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  You know, you're still trying to accomplish the mission. That's the good thing about it.
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  All the people that were involved didn't know what the mission was.
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  I was the only one who knew what the mission was.
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  And then when the mission started to, you know, get dangerous and the bad guys
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  started to close in on us, I had to reveal what the mission was.
• 18:42
  I actually had a chat with Nico yesterday and he said that you had some interesting
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  stories he said one involves him he says tell Fred.
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  Nico says I hear traffic I
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  hear traffic this way well you see that's what makes it work fun in Europe because
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  they assume that American actors are more polished because they have more experience
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  and more exposure to things and so they always like
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  to look at us as a learning process, you know.
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  So every foreign actor wants to be in a movie in America so they can have worldwide
• 19:31
  popularity, which is understandable.
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  So they watch me, and when I'm in a character, I'm into the character totally.
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  So we did this big explosion scene and fighting scene, and we're walking through
• 19:44
  a field as everything is over.
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  And finally we hear, we stop to say something. and are you okay?
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  Everybody's all right? Yeah.
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  Then there's some trucks and some horns blowing.
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  There was no way in the script. There was no way in the story.
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  And I immediately said, I hear traffic. Home is that way.
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  We started walking to where we heard the traffic.
• 20:09
  I mean, that's just being improvised and being totally into the character and
• 20:13
  understanding that you have to do something to wipe out this background that's
• 20:18
  not in the script and it's not in the story, so you better make it happen.
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  His other one was Ask him how it was to shoot in a real bunker,
• 20:29
  To do what? In a real bunker. In a real bunker. Being in a real bunker. Yeah.
• 20:34
  Yeah, well, this weapon is in a suitcase type thing, and it has lights in it.
• 20:42
  When you open it up, it lights up, which means you better close it up real quick.
• 20:46
  Yeah. But he didn't hide it very well.
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  It wasn't, it was like a spur of the moment, where do I put this thing, right?
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  So when we shot this thing, he took us in this little cave. That was pretty
• 20:57
  nice. It was a Hitler bunker, and everybody's tearing things down and pulling
• 21:01
  things out, and I decided to go sit in a chair.
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  And as I'm sitting in a chair, I look over to my right, and behind this desk was the suitcase.
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  And I picked it up, and I looked at it, and behold, it was the atomic Eden weapon.
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  That means I had to play it like, wow, here it is, man, we discovered this thing,
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  right? but it was so much in the open that I had to play it and make it like
• 21:28
  I had discovered this thing by accident. Yeah, that's great.
• 21:33
  I was recently watching the documentary they made about Larry Cohen,
• 21:40
  King Cohen, which you feature in, and you, of course, were in his film Black
• 21:46
  Caesar, and they also made the sequel.
• 21:49
  Was it Hell Down in Harlem, or was the sequel to that?
• 21:53
  Hell up in Harlem. Hell up in Harlem. Harlem, sorry.
• 21:57
  But what struck me as interesting and still does today, they talk about films,
• 22:03
  the diversity in cinema today and how movies like Black Panther are a big deal because it's starring,
• 22:12
  written and directed and everything by people of colour.
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  And I was thinking about when you came up through the business and they had
• 22:25
  what, you know, they asked Larry the same question, you know,
• 22:28
  what do you think of blaxploitation?
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  And he says, I don't know what blaxploitation means. He said, exploitation.
• 22:35
  Yeah, well, he got that from me. Yeah, he said all... He got that from me.
• 22:38
  I don't understand what it means anymore. Yeah, and he said,
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  you know, all films are exploitation.
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  But, you know... Let me explain this to you, that blaxploitation means nothing
• 22:49
  to me and I explained it to him, but it means nothing I think,
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  because who is being exploited?
• 22:54
  The actors are now making more money than they were before.
• 22:58
  They're now winning some of the fights. The black guy doesn't always die in the movie.
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  The audience are being very satisfied because now they have an opportunity to
• 23:08
  have some black heroes or some black strong male images.
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  So the audience is in love with these characters. So exploitation word was used
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  by the media that was white, that was trying to destroy what was going on.
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  Simple reason, it's a business thing.
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  It's a business thing. I play a film, we play Black Susan in New York on 85th Street, it was, say.
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  And our movie cost less than a million bucks.
• 23:34
  We got lines around the theater three times. Yeah.
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  Across the street is a 90 million dollar movie made by a major and there's nobody
• 23:44
  there. Right. It's not full.
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  There's nobody there. So we became competition.
• 23:49
  To the majors. So what happened, it became much more difficult to find money
• 23:55
  to fund the kind of films that we wanted to make.
• 23:58
  Right, right. So that, it only lasted four years, the so-called black exploitation thing.
• 24:04
  Yeah, yeah. Only lasted four years. Yeah, yeah.
• 24:07
  Yeah, no, I was, I've always been intrigued. I mean, because,
• 24:11
  looking, when they look back now, like even in it, when our industry,
• 24:16
  when we had a big sort of grindhouse our genre filmmaking industry back in the 70s and early 80s.
• 24:22
  They look back now and call it Ozploitation.
• 24:26
  You know, I've always just wanted to ask you, like, you know,
• 24:30
  I know that that period was very brief.
• 24:33
  How do you see it today as opposed to then, you know, with movies like,
• 24:40
  you know, Spike Lee's films and Black Panther and all that sort of, those movies?
• 24:45
  Well, I mean they're remaking superfly as well stuff like that,
• 24:49
  you know, how do you see it today?
• 24:51
  Right right Right a back page and put me on the cover in March end of March
• 24:59
  Right and it had a full picture of me sitting smoking a cigar They pulled out
• 25:05
  of the files and under the picture.
• 25:07
  It said Fred Williamson is not a black actor.
• 25:11
  Fred Williamson is an actor yeah they
• 25:14
  before black panther that was the
• 25:17
  hammer right variety did this on their
• 25:20
  own that page would have cost me 7500 but they see
• 25:23
  what's going on what's going on is they're becoming more business oriented because
• 25:29
  they are now realizing all these years they have missed a market totally and
• 25:35
  that market has been black audience black audiences don't you can't you can't sells him Tom Cruise.
• 25:42
  There's nothing that black guy can relate Tom Cruise with, you know?
• 25:47
  So they now understanding that they have to make film,
• 25:51
  if they want to extra money on top of the money that they are going to get,
• 25:56
  if they want to put some icing on the cake,
• 25:59
  then you give them something or someone in the movie that the black auditors
• 26:05
  can relate to, and then they come, and they see it.
• 26:08
  If it's all Tom Cruise, and it's all the so-called white superstars.
• 26:13
  They're not interested. They don't want to see that.
• 26:16
  They'll watch it on TV, but they don't want to plop their money down to see
• 26:19
  that. They want to see somebody else.
• 26:22
  Unfortunately, unfortunately, Hollywood only sees three black actors.
• 26:28
  They have no black friends. They don't communicate with the black people in public.
• 26:34
  They ride in limousines. They don't ride in streetcars. They don't ride in buses.
• 26:38
  So they have no black men.
• 26:39
  So when they read a script and on page six it says, a black man walks in the
• 26:44
  door, it's Samuel Jackson.
• 26:46
  Black man walk out of the door, it's Denzel Washington. Or somebody else running
• 26:51
  down the street, it's Will Smith.
• 26:53
  So that's their mentality. Their mentality is limited about all the other actors
• 26:58
  that are available for the counterpart.
• 27:01
  Samuel Jackson has been in every goddamn movie.
• 27:05
  He's a good actor, but he ain't great for all the parts that he plays.
• 27:09
  There's a lot of parts that he's in, it's miscast. It doesn't fit.
• 27:14
  But they're limited to their knowledge. What's available?
• 27:17
  That's all they know real like, you know, Samuel Denzel Will Smith the kid who did Black Panther.
• 27:26
  Yeah, that's you in two years.
• 27:28
  You won't even remember his name Because he didn't make the picture he didn't
• 27:33
  make the picture the special effects made him make the picture right?
• 27:38
  Yeah. Yeah No, I totally I totally agree with you.
• 27:42
  This is There's this, with those kinds of films, there's a very,
• 27:46
  very much a biodegradable quality that doesn't, they don't, they're like bottle
• 27:52
  rockets, you know, they fly very high, explode brilliantly, and then vanish,
• 27:57
  vanish on the wind.
• 27:59
  It's like a Marvel, it's like a Marvel comic, it's like a Marvel comic, man.
• 28:01
  You know, you can't keep selling that character all the time.
• 28:06
  Sooner or later, he's got to be a normal human being. and once he starts becoming
• 28:10
  a normal human being nobody's going to remember his name nobody's going to remember
• 28:14
  what he did and nobody's going to care I mean and you yourself know from you
• 28:20
  know being a writer, director,
• 28:21
  producer, actor all of the hats that you wear.
• 28:24
  If the hero of the story if you don't root for him if you don't care about him
• 28:31
  then you're out of the story right?
• 28:34
  You know you're not going to care if he wins or loses I appreciate it is that, what is a He-Man?
• 28:41
  Does that really mean? A He-Man to me means a guy who gets caught in a situation
• 28:47
  and has to think his way out of it first, and he has a lot of adversities.
• 28:52
  If he goes this way, that's the wrong way. If he goes that way, it's the wrong way.
• 28:56
  But he finds a way to win the situation and get himself out of the situation.
• 29:00
  That is a He-Man, not the guy who can fly and who's bulletproof and has good
• 29:05
  muscles that he can hardly keep his arms from touching each other when he walks.
• 29:11
  And that is a different kind of He-Man, you know. A He-Man is a guy who handles
• 29:15
  a real situation and overcomes it and deal with it and wins it. That's a He-Man.
• 29:21
  Yeah. Couldn't have said it better, Hammer. Couldn't have said it better.
• 29:25
  Of course I can't say it better because I'm not the Hammer. But you're the Hammer.
• 29:31
  And, Hammer, it has been a lifelong dream fulfilled for me today to talk to
• 29:39
  one of my heroes, Fred the Hammer Williamson.
• 29:41
  About a wonderful film that is currently streaming VOD in the UK and some other territories.
• 29:51
  It is Nazi Doomsday Device, also known as Atomic Unit, stars Fred the Hammer
• 29:57
  Williamson, directed by Nico Centner.
• 30:01
  It's a wonderful movie.
• 30:03
  And of course, if you haven't heard of Fred the Hammer... It's an entertaining movie.
• 30:08
  Entertainment sit there with your popcorn and a
• 30:11
  coca-cola or brew or beer yeah enjoy
• 30:14
  it have a great time and of course if you haven't heard
• 30:17
  of fred the hammer williamson you've probably been living with
• 30:20
  your head stuck in the ground for a long time he's a man he's the legend it's
• 30:25
  been absolutely fantastic fred i have one more humble request before we sign
• 30:31
  off i said i i was wondering You mentioned from Dusk Till Dawn earlier.
• 30:38
  I wonder if you could sign off by doing the line from Dusk Till Dawn.
• 30:44
  Yo, Monkey Man, anything you want to say to them, say to me first.
• 30:49
  No problemo. Okay. Yo, yo, Monkey Man, anything you got to say to him, say to me first.
• 30:58
  That's fantastic. Thank you, Hammer. It has been a real, real,
• 31:03
  you've got no idea what sort of pleasure. Absolutely astronomical.
• 31:08
  Yes, that was Fred the Hammer Williamson. Check out a link to Fred's,
• 31:12
  all of Fred's work in the description.
• 31:16
  Go check him out. If you don't know the man, you should know the man.
• 31:19
  And as always, thank you, little Eugonites, for listening to us on Spotify or
• 31:26
  wherever you choose to listen to your favorite podcasts. podcasts i'm kent hill
• 31:30
  and we'll see you next time on the one and only cinema.
• 31:36
  Music.