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The September Screenwriters Series: Edward Khmara · Cinema Yūgen

0:00
G'day. That's right. It's that time again.
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Time for cinema. them off yes you can it's welcome back the september screenwriter series continues.
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Music.
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Jeez there's a lot of s's in that and luckily there's not too many s's in my next guest's name.
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Edward kamara who's edward kamara you say
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well you might have heard his name but you've certainly only heard of
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films like lady hawk enemy mine dragon the bruce
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lee story the tv miniseries version
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of merlin that's the sam neill starring version had a huge cast rickie how among
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them martin short there was a huge cast isabella rossolini massive but yeah
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this is the man who He wrote Enemy Mine, as I said.
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Huge, huge fan of Enemy Mine. Ladyhawk, which certainly has its fans.
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Early Richard Donner film there.
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So, yes, this was my chat with the wonderful Edward Kamara. He also has a great
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story about the Lone Ranger.
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And to clarify that is Gore Verbinski's The Lone Ranger,
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oddly starring two men who ended up as hot topics in Hollywood,
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Wood, Armie Hammer, and Johnny Depp, who would have thought their career paths
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would have gone the way they were, or the way they did go.
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Edward Kamara, ladies and gentlemen, the second in the September Screenwriters Series.
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Here he is. Edward, welcome.
1:45
Thank you. Oh, fantastic.
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So, Edward, could you tell us, best place to start is at the beginning,
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could you tell Tell us a little bit about your journey before you came to the movie business.
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Well, gosh, it's a long way to come back.
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I was born and raised in Los Angeles.
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So I was raised in the Russian community there, and a lot of the...
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The people around me, my parents included, worked at the film business in any way they could.
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It was bit players, extras, musicians, and so on.
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And so the film business was always around me.
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I went to Hollywood High School. Later I went to UCLA.
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My original goal was to be an actor. But somehow the writing broke through first
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and I followed that for the rest of my career.
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I became a screenwriter rather than an actor.
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So what was your first professional writing job that you got?
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Well, actually it was ladyhunt. It wasn't a job in the sense that it was what we call a spec script.
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Okay, so Ladyhawk was just straight off the bat, you got that one,
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you got interested in that one straight off the bat?
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I'd written seven screenplays before that, or six I think, Ladyhawk was my seventh,
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and it was the first one that I managed to sell.
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And went from there. Right. So can you tell us about a little bit of the development process?
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Once they were interested in Ladyhawk, how did it go from there? Was it a long process?
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Well, I wish I could tell you about the development process,
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because as often happens to first-time screenwriters, I was pretty much excluded from that process.
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I hired other writers.
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You know, two of which are credited with me on the screenplay,
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and one of which actually did quite a bit of work and ultimately wound up with Dope Bear. Right.
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So, I really had very little participation. Once in a while,
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they would call me up and ask me, basically, how I felt they could do this or that.
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Right. And I would give them some ideas, and they would say,
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thank you very much. and then continued.
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They're people. Okay, right.
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So you had very little to do once they purchased your script.
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Right. The only thing that ultimately appeared to my thinking afterwards was
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the scene where she falls out of the tower and squirms into a hop in the air.
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That was an idea I gave them during their development process.
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Right. And it's probably credited in the draft that Paul Mankiewicz did. Right.
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So you didn't, I mean, I've heard, I've heard a few wonderful tales from other screenwriters.
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Since I've been doing this, you know, wonderful tales that they got to,
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you know, be part of the whole thing and they were there when it was filming.
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So, but that wasn't the case for you, was it?
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You didn't get to visit the shoot or anything like that, did you?
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Not with Ladycock. I spent a lot of time on the set of Enemy Mine in German. Oh, okay.
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I was quite involved in that project.
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And, you know, I don't know, there's a bit of a separated film there,
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and you want me to tell you. Right.
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But, well, anyway, coming to Enemy Mine, which is one of my favorite movies,
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was Hell in the Pacific an influence on that movie at all?
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Well, you don't have to say so. So, you know, it was based on a story by Barry,
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name's escaping me at the moment, the original writer.
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Barry, it was an 80-page short story. Right.
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And, you know, I was hired to adapt it for the screen.
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And so while I have some screenwriting credit the original short story writer
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used his credit as well so it's based on so.
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I understand that initially Wolfgang Pedersen was not the director,
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that he was brought on to the original director. Yeah, that's right.
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The original director was an English director named Richard Longcrane,
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who I think is a brilliant director and had some really wonderful ideas for
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the screenplay and for the movie.
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But, you know, we were shooting in Iceland and weather problems developed and
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the budget got out of hand, and the studio decided to pull the project.
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And when they started again, they started with Wolfgang Pierce. Right.
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So what was your experience on that film?
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I mean, unlike Ladyhook, were you there this time for, like you said,
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the duration, and you were on set?
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What were some of your experiences during the filming of Enemy Mine?
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Well, gosh. Maybe one of the interesting experiences came after the shooting
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itself and the film was being edited.
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And I was in California, and I got a call from Peterson saying that one of the
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major scenes, which explained the Drax lineage,
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did not work.
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There were certain problems with the image. and so I came back to Germany and
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tried to put that scene into essentially extra footage that they had and so
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when you're watching the film the whole lineage was explained when,
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the draft and damage or you know Venusquake are escaping from this huge earthquake
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and during that time you hear some of the critical information that has to
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be conveyed to the audience all shot at a distance where you can't see their faces.
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And that happened because the original close-up footage completely didn't work.
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It had technical difficulties. Right.
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So they look very impressive. I mean, it was obviously all done in,
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a lot of it was done in stages, and they're very impressive sets.
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What were they like to actually be standing on? Were they very impressive?
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They were impressive. It was shot at the Bavaria studios there,
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just outside of Munich, Germany, and a big soundstage was built especially to shoot that film.
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That was the first time that that soundstage was ever used. The
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sets were huge As you
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said they weren't Quite impressive They were some of the effects You
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have to remember that This was
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before CGI Everything was done On film And so A lot of the special effects Required
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very difficult And expensive photographing process Sure I spoke recently with
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I did an interview recently with Chris Wallace,
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who did the makeup effects on the film.
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And I remember saying it was an extraordinary performance by Louis Gossett Jr.
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Because I was amazed that that was him under that makeup because it was certainly
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a grueling process to get him into it and then for him to be able to act underneath it.
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Did you get to meet the cast and all that?
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Yeah, I was there basically the whole duration of the shooting and one interesting
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experience is that I had my daughter there at the time who was about four years old then.
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I was walking with her on the studio lot.
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Along comes Lou Gossett in whole track makeup with only his hands.
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He didn't have the big the big black gloves on it.
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So my god, I take one look at him passed out They said I said to him Lou hold out your hands.
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He held out his hands and I said look see That's just a person there.
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You see the hands are a person's hands.
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Then she kind of You know kind of calm down Of course, he spoke to her,
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you know in a gentle voice and she understood what that was like,
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but she still she's 37 years old now, she still clearly remembers that moment.
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Yeah, it would have been quite a fright.
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But Wolfgang Peterson is a wonderful director. What was it like working alongside him?
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I really enjoyed it. I had a very long relationship with Wolfgang.
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I have very, very nice memories of him.
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Of those times. It was a very good experience for me. Right.
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No, it's a wonderful movie and it continues to endure.
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I mean, I never saw it at the, it never came out in the theaters here.
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It only ever came out on VHS tape over here.
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But it's, ironically, it was a movie, and I've written about this before,
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but it was a movie that i'd only ever seen the
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last 20 minutes of for the
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longest time because a cousin of mine had it on videotape but they had taped
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something over it because he didn't he didn't he didn't like the film so much
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but every time we would watch this other film i would always say we'll leave
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it go and i'd watch the last 20 minutes of this movie i said well what is this movie,
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and he told me the title and then so next time i went to the video store i want
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to see the rest of of it now because I've only ever seen the last like 20 minutes,
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and so finally I got to watch the whole thing and I was like well that's a good
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movie what did you tape over it for and he said oh I didn't he didn't like it so much but.
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I've always always loved it and I thought I think it's great that it has continued
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to grow in it's cult status and popularity,
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helped by VHL it was another you know one of the great actors I met with the
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bear director, Brian James, who, uh... Yes, he's sadly...
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He's passed away, sadly, you know?
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He did, yes, he did.
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And he was actually a great pleasure to work with. Sure.
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Very, uh, very creative, very educated, very smart fellow.
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You know, it's still strange to see it in the role of a villain him because
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he was a thoughtful person.
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Yes. And what was it like when it would, I mean, was there a big premiere for
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it back at that time when it was finally released?
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I don't think there was. I don't remember any. I don't think so.
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I think it just, it just opened.
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Oh, okay. Just an ordinary, yeah. What was it like when you finally got to see it?
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What was it like when you finally got to see it finished in the theater? Thank you.
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Well, you know, by that time, I'd tuned it probably two dozen times.
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Okay. Different stages. Different versions. Right, yeah.
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And everything. And so, you see, it wasn't that exciting.
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Okay. The first time, I had the video. Right.
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Because you would have seen all the dailies and stuff, would you, at the time?
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Most of them, yeah. Yeah. I was even involved in working on the looping,
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you know, the dubbing of the voices.
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So I was fairly familiar with every inch of that film by the time it came out.
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So there was no surprises left to be had.
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You know, I'll tell you one thing that was different. In fact,
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the story was edited quite differently than I had written it.
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And even than it had been directed.
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So there is a basic change in structure, which I think works, but that surprised me.
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And to this day, when I watch the film, it surprises me because I'd seen the
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other structure so many times that when it makes that shift,
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it's always like, oh yeah, I remember now, they re-cut it.
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Right. So how did it play out originally?
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You know I would have to I would have to look at it again okay to be able so
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is it is it a major plot change or is it a character change,
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well it's just it's just the way the just
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the structure of the story oh okay right
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so just just a different sequence and if
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I get into it I'm liable to to confuse the whole issue I have to look at it
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again to remember which was which oh okay years ago that's all right but so
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in in between these films did you keep obviously writing other scripts and trying
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to get other scripts produced and.
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Well, I did. I mean, the one that I did get produced was Dragon, the Bruce Lee story.
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I mean, I was hired to do that. Right. Then I was hired to do the Roman story.
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Right. And that, you know, I got only the story credit, although just at the
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last minute, the writers still determined who gets what kind of credit, you know.
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Right. So, and then for many years I sort of dropped out of the business.
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Now I'm trying to get back into the business, but not really writing fantasy or science fiction.
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I'm very interested in certain historical events in northern New Mexico.
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And certain issues of the state where I live now. So that's what I'm working on at the moment. Cool.
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So Bruce Lee, you obviously were a fan. Were you a fan of Bruce Lee movies when
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you took the Bruce Lee job?
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Or were you just intrigued by his life story?
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I wasn't so much a fan of Bruce Lee as I was a fan of the martial arts.
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And I can tell you a funny story about that.
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A strange coincidence, because my children were small, and I used to carpool
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them to school with one of my neighbors.
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He would drive all the kids one day, and I would drive another day,
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and occasionally we would have breakfast.
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And he asked me one day, one morning at breakfast, he said, so what are you working on?
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And I said, I'm working on a movie about Bruce Lee.
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And he said, you know, I was director of photography of Enter the Dragon. Wow.
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And his name was Gil Hobbs. Yep. He's still active, I believe,
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and he was the director of photography.
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Bragging there you go pure coincidence yeah.
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Wow. And of course, I heard many, many strange stories. People always wanted
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to tell me how Bruce Lee really died.
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Right. And none of the stories ever were the same. No.
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No, there's quite a few different iterations.
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But in working on that film, did you meet... I mean, his wife does a...
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Certainly, there's a version that came out over here where his wife does quite
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a long monologue at the start of the opening of the film, before the film begins.
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Did you... I think I've seen that version. Yeah.
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Did you meet with his wife or anyone connected during research and all that sort of stuff?
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I met with a lot of people. I spent a couple of weeks in Hong Kong.
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I met one of his brothers, who was, he was actually, he's passed away since,
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but he was, at that time, co-director of the Hong Kong Observatory.
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He was an astronomer, not a martial arts person.
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I met I met a man who called himself Chaplin Chang that had been the production
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manager on so many of those,
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of those films I met Bo Yang who was the villain you know in Enter the Dragon
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and also the villain in a lot of the.
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You know, the more recent martial arts movies.
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Right. And, you know, quite a few people of that kind,
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the photographer who had taken so many stills of Bruce Lee, hundreds which he
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showed to us, which I had never seen before,
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which I don't think had ever been published.
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That was also a very interesting experience. during him.
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Did you learn anything surprising about his life during your research?
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You know, the movie, the choice that I made in the movie was to portray him
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as sort of a nice guy. Right.
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One of the people that I spoke to a lot, and his name is not coming to mind,
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immediately, but you probably know the director of End of the Dragon. Oh, yeah.
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Yeah, I do. I do. It's not going to roll off my tongue just now,
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but I know who you're talking about.
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What I really learned is that Bruce Lee was a physical genius and obsessed with
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the notion of fame and style.
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Simply obsessed with it. What really fascinated me in the draft that I wrote
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was this driving determination to achieve his goals.
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And the choice that was made in the movie was to make him kind of a sometime
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guy and I think maybe that was the right choice for the movie but when the director
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first approached me with that film,
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He said he wanted to do a Chinese version of Raging Bull.
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Remember that movie we directed in Arizona, Raging Bull, about Jake LaMotta? Right, yeah.
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The screenplay that I wrote for him was just that.
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It was about this obsessive, limited, but obsessively driven individual.
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Which I would have loved to have seen that movie on the screen.
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I like the movie they made but I wouldn't want to have seen that movie but that
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was harder to do and harder to hold an audience maybe with that character The
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final film is a more romantic sort of,
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retelling of his life and in the end,
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he becomes more of an iconic figure the final shots with him doing doing martial
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arts against the setting sun.
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You know, he almost, you know, they have him transforming from a man into a
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symbol, almost, iconography.
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Into a man. Yeah. Into a man. Yeah, man into a man. He is a myth.
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He's become a myth. Yeah. He's become a symbol.
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And the man from somewhere, I think, kind of faded into that. Right.
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Yeah. Yeah, but... He'll be in his 70s now, probably close to 80 years old. Think about that. Yeah.
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But, you know, I mean, it's like you said, an intriguing film,
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but now certainly I think I would like to see that version you mentioned too,
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like a Raging Bull type version of Bruce Lee.
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Like, you know, not so romantic, maybe a little bit gritty and,
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you know, show some of the flaws a little bit more and, you know,
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the price of... One of the images.
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Yeah. I was going to say, one of the images that stays in my mind,
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from the book written by the director of Enter the Dragon is Bruce Lee standing
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outside of Steve McQueen's house shaking his fist at the house and shouting,
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someday, Steve, I'll be a bigger star than you.
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Yeah. And it came true, didn't it? True, yeah, yeah. And he's...
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I mean, the scenes in the film...
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I don't know if they survived from your draft or not, but where he was lifting
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weights with one arm and reading a book with the other, always in motion,
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almost like he was the embodiment of perpetual motion.
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He was, I think. He was the embodiment of perpetual motion.
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He was just extremely, extremely focused, extremely driven, and an extreme perfectionist,
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brilliant, you know, a physical genius.
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You know, one friend of his told me that he could have you hold out your hand,
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and he would put a quarter in your hand,
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and then he would hold his hand above your hand, and he would say,
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close your fist until I can snatch that quarter out of your hand,
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and And then he would try to snatch it and close your fist.
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And he would say, do you still have
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the quarter? And you'd feel it in your hand. And you'd say, yes, I do.
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And he'd say, well, I guess I'm not as fast as I thought I was.
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Well, give me my quarter. And you'd open your hand and it'd be a nickel there.
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Five cent. You know, a five cent.
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So I heard that story from more than one person. and all of his speed and just
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the way he could focus in a unique way the power of his body and his mind together.
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He was really an exceptional brand to the withdrawing. His early death, I think, was in tragedy.
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Yeah, he was. And then his son, too, not long after that, Brandon. Thanks.
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Brandon, that happened. He died just days before the movie opened.
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Yeah. Just days before the movie opened. I got a call from my attorney then,
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and the movie was going to open in two or three days, and she said,
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I just heard Brandon Lee was killed on that.
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Sequels. Yeah. Yeah, very tragic.
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But actually, it's funny you mentioned that scene with the taking the one coin
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and swapping it for another.
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They actually used that in another movie. I don't know if you saw it.
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It was a Jean-Claude Van Damme movie called Bloodsport.
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Oh, I know Bloodsport. I worked on a project with Van Damme.
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I didn't get credit for it.
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It was a project with the Diamond Fight Dukes. Right. That Van Damme played.
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He played Frank Dukes in that movie.
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And I developed the storyline with Frank Dukes. Oh, you did?
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I ended up getting some credits, and I didn't, but that's where it goes from that.
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I'll say you actually developed it with the real Frank Dukes, did you?
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Yeah. The real Frank Dukes. Because there's a scene in that film where he does
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that trick where he puts like a quarter or something in the guy's hand and he
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says, you know, if I can take this before you close your hand,
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you know, and he goes, ah, you lose, but when he opens his hand, it's a different coin.
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I didn't know that. I'd never seen that before. I don't even remember the name
26:32
of the project that we worked on.
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There were later some problems with it. There was a
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falling out between Frank and Jean-Claude and
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you know but he ultimately wound up getting
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a story credit I believe whatever movie that
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is right and since he'd
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come into the project earlier than I did he got the credit and
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I didn't and that's determined by the writers deal right yeah
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we just accept that the way they at least that they're our own people at the
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turn of that yeah yeah so but if you ever watch if you ever get the time and
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you watch Bloodsport you'll see that that scene that you just described that
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Bruce Lee could do, you'll see a very similar sequence.
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That is in that movie. So it was just... Okay, so it's a blood sport.
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I didn't see that. I just don't remember. Yeah, but... Blood sport.
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Yeah, but it was just funny. You mentioned that Bruce Lee story,
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and then that was the first thing that popped in my head.
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It was like, oh, that's a scene from Bloodsport where that exact thing happens.
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So anyway, that was fantastic. So tell us then about another film that I noticed
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is on your credits. There is Submerged.
27:43
Yeah that was a good disappointment to me,
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I'm really I really think they did a terrible job with that movie they really
27:54
had nothing to say oh okay alright well we'll move on then it could have been a great,
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it could have been a great story yeah.
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Yeah they almost got to save people's lives yeah in that situation and they chose some,
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I've had some were just easy and I would say cheap or, you know,
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some ungraceful choices, I would say. Okay.
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I kind of just let it go. All right. Well, we won't dwell on the bitterness.
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Let's talk about Merlin then, which I watched again last night.
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I haven't watched it for a while.
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That was a huge TV movie. And for my money, it's one of the better sort of retellings
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of the Arthurian legends.
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How did you come to work on Merlin?
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Well, I was hired to do that. I was hired by Robert Hound, who was then the chief of...
28:53
Of Hallmark, you know, the company that put it out.
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And like so often happens, they change their mind right in the middle of what they're doing.
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Originally what they told me is, we want to tell the Merlin story without King Arthur.
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And I said, you cannot tell the Merlin story without King Arthur.
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So they said, all right, well, minimize King Arthur, minimize King Arthur.
29:20
There totally, you know, make him as insignificant as possible.
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So I wrote a draft of Merlin, which I don't think I made it as insignificant,
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but he was certainly a small part of the story.
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Robert Jami called me up and said, we're shooting this story you wrote, word for word.
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I'd never heard that before. then I heard my agent called me about a week later
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saying they fired you and they're starting over and,
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what were they unhappy of there wasn't enough
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about King Arthur oh god oh no so they decided to so then they hired one writer
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the writer's guild the guild didn't even get involved at that point so,
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screenplay by myself and this other writer and they hired another writer and
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then screenplay was by all three of us and then,
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the guild determined that I would get story credit they would get,
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you know screenplay credit and there are still some scripts out being sold you
30:36
probably can only get them on ebay or something and which I'm credited also
30:40
as one of the screenwriters not just the story.
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So it's drifted around a lot. Yeah. It's...
30:50
It's a story that has been told many times, but only a few have really done it well.
30:56
I mean, for my money, John Borman's Excalibur is a good version of the story. Yeah.
31:04
But, I mean, of course, recently they've done another, they've done sort of
31:09
a big budget version of King Arthur, and it's sort of more geared towards action
31:15
and all that sort of thing.
31:16
Yeah, I think it would be nice to see a big version of the true,
31:21
the tale without trying to alter the point of view.
31:26
I mean, Merlin, of course, as with John Borman's version, it's really told from
31:33
the perspective of Merlin is the catalyst for a lot of what goes on.
31:40
And I can see in the version that you probably wrote that it would have been
31:47
a similar point of view, like mostly from Merlin's point of view.
31:52
Everything going on through his eyes and from his perspective.
31:57
Was that your original sort of take on it?
32:00
Well, yes. I mean, he was sort of the driving, the whole idea is that he was the driving force.
32:06
King Arthur, in a way, was his tool. that he had created him,
32:10
and that Gene Isen was his tool, and that the policies,
32:16
let's say, to use a matter of the word, of Merlin's, or I should say the policies
32:23
of King Arthur were really Merlin's policies,
32:26
whereas Merlin's horse and Merlin's ideals that were being forwarded there.
32:32
So he was kind of
32:35
a puppet you might say you know and i kind of the friend remembering
32:38
in my screen play i made him sort
32:41
of a a decent chap you know like
32:45
a puppet to to merlin who really had the intelligence and the force and the
32:49
vision right but is is there is there any uh obviously you know you've written
32:55
quite a lot more scripts than than have been produced is there any script of
33:00
of yours that you've written that you wish,
33:02
would have gotten made or would get made?
33:07
Yes. There really is. I did and was paid to do quite a handsome sum of money many years ago.
33:15
A story about the American author Jack London. All right.
33:18
About the second half of his life, his second marriage.
33:26
I can understand it's a hard movie to,
33:30
bring the four American audiences because in a way it was a tragic story.
33:33
Jack London, you've heard of him in Australia, I'm sure. Well, I have, yeah.
33:38
He died in 1916 at the age of 40.
33:45
From the middle of his life until the end, he tried so many grand things and
33:51
they all failed and he continued to persevere.
33:55
In the draft that I wrote, Excuse me.
34:00
It was a story of a man and a woman really struggling for intimacy,
34:05
struggling to find each other amid this kind of a grandiose,
34:11
because he was like a big movie star you might say these days.
34:15
You know he was internationally known and though I sort of fell in love with
34:20
that character and I lived.
34:22
You know I tried to get in his mind and his feelings the place where he lived
34:28
and where he died is still very much unchanged so you could go there and sort
34:32
of experience his presence and I,
34:36
really would like would love to see that done and then something I just completed now,
34:42
we'll see where that goes in the future was about a
34:46
very intense individual who came to northern New
34:49
Mexico and tried to return to the
34:51
people of northern New Mexico their rights in
34:54
the old Spanish land grant they received you know well over a hundred years
35:02
ago well actually they received the land grant over 200 years ago and so that's
35:08
It's basically a story of modern chicanery,
35:13
how people's rights are stolen.
35:16
Sure. Well, I wish you all the best with it. I just finished that one.
35:21
That's it. Wow. Well, I wish you all the best. I hope you get that off the ground.
35:26
That certainly sounded interesting.
35:28
But I noticed that you finally got to do a bit of, you said you wanted to do a bit of acting.
35:34
And I noticed on your credits, you were in The Lone Ranger. Yeah.
35:38
Yes. How did you come to get into Lone Ranger?
35:42
You know, when I moved to New Mexico, I kind of tried to do different things.
35:48
And I originally, I signed up, I wanted to do some horseback stuff.
35:53
You know, I had horses and ridden horses down there.
35:56
I wanted to get into horseback and do some westerns.
36:01
And basically, it's a mounted extra. I just started with these.
36:04
And I got a call from the captain's director who called up and said,
36:09
you know, the director saw your picture and, you know, she said,
36:13
it's not a speaking role, but you, you know, you're there with the actors and
36:16
you're the sheriff of the town. And, you know.
36:19
Would you like to do that? And I said, sure. So I did it. And I'm not in the
36:24
movie nearly as much as I was filmed. Right.
36:26
But, you know, the major scene that you can see me is when Armie Hammer meets
36:32
the, you know, the woman that was his brother's wife.
36:36
The creature-born ranger meets the woman that was his brother's wife.
36:40
Right. In the sheriff's office.
36:41
Yeah. I'm mostly kind of unconscious on a couch right there,
36:45
surrounded by whiskey bottles.
36:48
I'll have to I'll have to watch it again
36:52
I haven't seen it since it came out but I'll have to go back and watch it again
36:57
and check it out because it was great when you said you wanted to be an actor
37:04
and you finally got to you finally got to do it in a big movie yeah.
37:13
Six seconds of screen time but it was a lot of fun I really enjoyed that.
37:20
It looks like it was a massive production.
37:24
I mean, Gore Verbinski makes big movies, so I assume it was quite a large-scale
37:33
production by the looks of it.
37:34
It was something else, I'm telling you.
37:39
It was enormous. on us and they shot it not far from Albuquerque, New Mexico.
37:46
They shot it well, you know, no use to describe to you exactly where you are.
37:52
You probably haven't been here, but near Albuquerque, New Mexico,
37:56
it was kind of a very barren land where they built something like six miles of railroad. Wow.
38:03
You know, train sequences, headwraps of horses, horses and skunk people.
38:11
Yeah, it was a carnival. Well, that's great. Well, I'm glad.
38:16
I'll go back now and I'll be sure to check out your scene now.
38:25
Well, the guy who plays the villain, unfortunately, this wonderful British actor,
38:31
his name is not very well known. Yeah.
38:35
And he plays a villain. He has a perfect American accent.
38:39
And he stands up on this platform telling the comic that they have to look out
38:44
for the bandit, which Cavendish.
38:47
Which Cavendish.
38:50
And they're holding up this poster with a picture of him.
38:54
Butch Cavendish, you know, and he kept, Tom was his first name,
38:59
and he kept saying, Butch Cassidy.
39:01
Right. And they would tell him, no, no, Tom, it's Butch Cavendish.
39:05
And I said, Butch Cavendish.
39:07
And I would tell him one time, he said, Butch Cassidy, you get out of good locks.
39:11
He'd get grumpy about it. Then they'd shoot the scene again, and he would do it again.
39:18
But he got it right finally.
39:21
That's great. Great. Well, Edward, my friend, it's been an absolute pleasure
39:27
and a rare treat to finally get to have a chat with you.
39:31
You've led an extraordinary life, had an amazing career, and I hope nothing but the best.
39:39
And I hope that the work that you're doing now bears some fruit and that we
39:43
might again see another Edward Calmer movie on the screen.
39:49
Yes good I have all good thoughts for it thank you,
39:55
but yes it's been it's been a really really a delight and I thank you very much
40:00
for your time today my pleasure thank you too the September Screenwriters Series
40:06
continues ladies and gentlemen we hope you enjoyed this episode there is another
40:11
one hot on its heels so stay tuned,
40:15
through the month of September for the September,
40:18
Screenwriters series and as always
40:22
thank you for listening to us little yuganites on spotify or wherever you choose
40:27
to listen to your favorite podcasts so until next time this is kent saying thank
40:33
you for listening and stay tuned to the one and only cinema.
40:43
Music.