FOX, Dick, Katharine Ross discussed on Awards Chatter
He he's he shied away from that for whatever reason he didn't think that was something that I should pursue. However, he did send me to agent men in BIC bassman, and I signed with dick. And I think it was I don't even remember can't pay. It was the forerunner icy and general artists see orders, corporation and other place. I hung out a lot, you know. But he was my first Asian the first interview that he sent me on was to meet a woman named Lillian Gallo at FOX and FOX had a contract program. But it was basically made up of friends of friends or, you know, driven by nepotism. It wasn't taken nearly as seriously as the program at universal the people work in. Ursel Mony James got those guys on shows universal. But I, you know for the first time, I was drawn a paycheck. I was living know on Tennessee, the back gate of that FOX and pay an eighty five dollars a month rent and drying paycheck for eighty five dollars a week show. That was in hog heaven who else was part of the FOX Shelly can just come in out of you know, he was SE just graduated from ESI was a basketball player, and he was new to the program. Eighty Williams was there, of course, from this one program came the two great mustaches of our time. Either one. Right. Right. So they weren't as good as universal about putting their young talent into movies, but you did have small what was your first small film role films. Screwing was first thing than it. Did. Panel. Really, you know, I don't know again. It was me being the lizard hanging out in the lounge I found out where the scripts I came at FOX I knew pretty quickly that being a contract player that wasn't going to share me of work. Right. But I found out early on that the script gun and think of Jack Bauer told me this who was the head of cast in there. The first place they landed was the legal department. Two women that worked in legal permanent. Guttering ovary will and open her door to MS it anytime, you wanna come in looking script coming. So I'd go in there and look for the one liners or the two liners and go down to whoever was cast in them and give them the name, titled or the number and the title of the script and saying let the come and read for when it comes. So I got work doing that one a lot. But I got we're. Well, absolutely. And it sounds like one of the earliest found parts in nineteen sixty nine even if it was just a blip was a movie called push cast in the science kid, which the female lead of was to be my wife Pierre's later Katharine Ross, right? So gender ten years later. What were you doing in that movie, and did you guys interact at all? Not at all. Saw her from afar. Lot going into the commissary, basically, she was gone with Conrad Doug for film. Right. You know, there is there's that whole hierarchy. I wouldn't have approached anybody on that film, actor, and it was basically an extra piece card player number two. Be specific and the all have positive. The only reason my name is in the credits. I think it falls second from the last on the crow biz because I was a contract player. It was a contractual thing. Interesting literally shadow on the wall had one line out kick to off camera. Well, as the sixties came to an end, I know so, you know, increasingly did the studio system, which means they no longer had much of an incentive to develop young talent. But that you know, you're on your own at that point. Right. So I guess everybody gets let go right sooner or later and becomes free agents. And I just wonder for you was that scary. And was that art when you're now, you know on your own you're gonna group things came out of the studio relationship for me. And I think probably the greatest thing other than, you know, working in certainly being an actor for the first on my life. But I got the long term relationship with the Newman claim the great composers. Yeah. And the doctor. And the producers it was a huge band of brothers..