Thu, 15 August 2013
Suzanne begins by creating some mystery and reveals secrets as she talks about her new bathing suit,
today’s generation of pampered Hollywood pets, why The Wizard of Oz’s “Toto” was
envied by the “munchkins”, and then refers to the new book she and Bob
are working on...but won’t reveal the title!
The conversation turns to Bob’s experiences as Supervising Producer on Ohara,
a Warner Bros. TV series that starred Pat Morita of The Karate Kid fame.
Bob reveals the difficulties in writing and producing a cop show for the former “Mr. Miyagi”
with a vague, constantly-changing franchise...a challenge made all the more difficult
by a phalanx of bickering producers, studio chiefs, and network executives
ranging from future Oscar-winner Brian Grazer to a Keith Richards look-and-act-alike.
Even with all the behind-the-scenes drama, Bob remembers the fun of writing
great cop action scripts alongside L.A.P.D. Homicide Detective (and future Assistant L.A. Mayor)
Joe Gunn, while casting future superstars like Brandon Lee, Benicio del Toro,
and Cuba Gooding, Jr. in routine “day player” roles.
Those casting stories lead Bob to recall his friendship with Bruce Lee long before
Enter The Dragon turned him into an international action superstar. Bob even details his
eyewitness account of Bruce Lee’s on-the-set humility and a display physical power
that provides plenty of contrast to his experience on Ohara
It may have been a case of “too many chefs in the kitchen” on Ohara, but
Bob admits that working on the Warner Bros. studio lot—and bumping into people like
Clint Eastwood—made producing the show a true Hollywood Experience.
Sun, 7 July 2013
Suzanne opens discussing Ryan Seacrest’s new reality show “Montecito” and then
analyzes some hits before reviewing “The Seven Worst Reality Shows” to
ever make it on the air...while Bob shares his passion for
vinyl Rock ‘n Roll record albums.
The conversation moves on to how Bob took advantage of his “inside track”
deal with NBC Productions and his relationship with programming exec
Brandon Tartikoff to pitch and sell a pilot for Time Out for Dad, which starred
NFL Hall of Famer Dick Butkus and Harriet Nelson.
Bob tells what it was like meeting Chicago Bears linebacker Dick Butkus
for the first time, and then how Butkus held his own as a comedic actor
surrounded by first timers on a movie set.
Bob recalls his meeting withHarriet Nelson who appeared
in the show...while Suzanne lets it be known that she’s had a lifelong “thing”
for Harriet’s son, famed rocker Ricky Nelson. We also hear about the
casting process that discovered future TV star Johnny Galecki,
star of the CBS-TV series The Big Bang Theory .
Bob and Suzanne touch upon the fact that Time Out for Dad may
have been ahead of its time, dealing with the challenges faced by a
stay-at-home father married to a wife whose career is on the rise. They
reminisce about working with Scarface star Paul Shenar on the pilot, as well as
with the veteran crew members whom Bob spent time with, pumping them
for their stories of “Old Hollywood”.
Bob admits to being a “born marketer”, describing the story-point prop shoes
that he shamelessly wrote into the show in hopes of breaking into
the world of Nike’s Air Jordans, and then turns to the cruel odds of
the TV pilot process as a project goes through the various phases of
story-pitch-script-shoot...and then the dreaded decision-making that follows.
changes, as Bob gives his own definition of
“failure” in the world of television.
Sun, 5 May 2013
www.WhereHollywoodHides.com, and—while reminding us she’s sooo much
younger than Bob—lays claim to being a lifelong Beatles fan.
For his part, Bob admits that he’s just “a rock-and-roll kind of guy”
and would’ve bet the farm that I Want to Hold Your Hand would never
make the charts. So much for his musical tastes...
The episode moves on to what Bob himself describes as his “greatest
career failure” while under contract to Aaron Spelling Productions writing and
producing Dark Mansions for ABC-TV. It’s a tale of classic Hollywood
casting politics as Bob sets the record straight as to exactly why former
movie queen Loretta Young never got the part in the film that eventually
went to Oscar winner Joan Fontaine.
Bob reveals the nature of production and budgets in Spelling’s 1980s-era
Hollywood, as well as the rationale (follow the money!) for the excessive
proliferation of producer credits seen on Dark Mansions. With a tip of the hat
to the talents of Linda Purl, Michael York, Melissa Sue Anderson,
Nicollette Sheridan, and director Jerry London, Bob’s confidence in the show
never prepared him for the horrible results of an evening of sneak-preview
audience testing. It’s the story of how a “hit movie” with the promise of becoming
a network television series became an instant embarrassment for all...
as well as an immediate career bump for the fool who wrote it (that’d be Bob).
Going from “Golden Boy” to “Bob who?”, and proving the truth of
when you’re hot, your hot, and when you’re not...you’re not,
this episode is a good illustration of the pitfalls to be found on
the Hollywood career path for any writer, actor, producer, or director.
Sat, 2 February 2013
Bob & Suzanne open with the contrast between Barbara Walters'
recent bout with chicken pox and Matt Damon's debut as a standup
comic on "Jimmy Kimmel Live"...which leads to Bob admitting he's too
short for Nicole Kidman while Suzanne slips in yet another fawning comment
about Ben Affleck!
We learn how Bob went from writing "BJ & The Bear" to helping create one of
the most enduring nighttime soaps of all time, "Falcon Crest"...and that
Suzanne just missed becoming a housekeeper having sex with J.R. Ewing
on "Dallas" (with a nod to Governor Schwarzenneger).
And before it's over, Bob's equestrian skills become a source of humor for
his long-legged tall-in-the-saddle co-host.
Sun, 6 January 2013
For the New Year, Bob & Suzanne detail how Bob went
from Location Manager at Paramount and Universal to selling
his first story on The Six Million Dollar Man by overcoming
the age-old problem of executive nepotism and...theft.
We hear about life on the set with Lee Majors, and how
Bob just happened to spend a day alone with Farrah Fawcett well before
she ever rached stardom on Charlie's Angels.
Suzanne manages to dish a little Hollywood gossip, but
admits to wearing "Farrah hair" when it was the rage!
Sun, 6 January 2013
This debut episode starts with Bob's FBI-agent birthright and takes us through
a childhood spent in Sunset Strip nightclubs where he hung out with
Nat "King" Cole, sang duets with Sophie Tucker and Johnny Ray, and was
introduced to the joys of Parliament cigarettes...at age six!
Raised with gun-toting West Coast Jewish mobsters as
family role models, Bob reveals the details of youthful encounters with
naked movie stars like Carol Baker and Rock Hudson...and describes his
celebrity-filled school years living just down the street from the movie-star
mansions of Beverly Hills.
Life at Beverly Hills High--where Bob did a good job of "passing" as Jewish--
led to an eye-opening experience with anti-semitism which colors his
attitudes even to this day.
Suzanne gets Bob to reveal how Vietnam-era draft evasion caused him to
change his name...and how repeated appearances on a handful of TV quiz shows
propelled him toward an unusual career choice.
Although he whimped out when he won a date with a Hollywood stripper,
Bob had a fresh taste of showbiz that he just couldn't shake.
Thu, 8 November 2012
At Suzanne's prodding, Bob McCullough details his first "on the lot"
gig at Paramount Studios and confesses his never-before-revealed
secrets of life on the set of the original "Mission: Impossible".
They talk about the unique production values, Bruce Geller's
perspective on character develpoment, and how Bob befriended
the writer who had killed his wife with a pair of scissors.
It's a revealing conversation about network-studio conflicts
making early caeer moves, all with the ground-level
view of an up-and-coming Hollywood "gopher".
Thu, 25 October 2012
Suzanne plays the “Latina Power” card, gives her review of today’s
Hollywood Reporter Magazine, does a bit of name-dropping about
their Santa Barbara neighbors, touches upon the years of the Hollywood Blacklist,
and Bob opines about how The Academy Awards seem to overlook the obvious.
Suzanne then takes Bob into the heart of his writing-producing-directing career,
touching upon being laid off from his location manager job at Universal and then
paying dues as “the writer in the closet” with a startup production company
which led him to his first “real” agent.
They discuss early breaks on shows like “BJ & The Bear” and “Sheriff Lobo”
which put Bob’s spec slasher scripts in front of CBS execs who hired him to
add some “spice” to their failed “Vintage Years” pilot. The concept of nepotism is
touched upon as Suzanne gets the credit for ghost-writing the first season’s
series bible for what became “Falcon Crest” which later propelled Bob
into the waiting arms of Aaron Spelling Productions.
Suzanne speed-dials Bob’s memories of Brandon Tartikoff, Dick Butkus, Pat Morita, and “Star Trek”.
Thu, 25 October 2012
In their second episode, Bob admits that he literally begged his way into
grad school...which proved to be a stroke of brilliance as it led to his first
showbiz job as an NBC "page" in beautiful downtown Burbank.
From ushering old ladies into "Let's Make A Deal" to gigs on "The Tonight Show"
with Johnny Carson and "Rowan & Martin's Laugh-In", Suzanne gets Bob
to talk about first encounters with stars like Goldie Hawn, Sammy Davis, Jr.,
Dean Martin, and Kirk Douglas.
Suzanne reacts to Bob's obnoxious career moves as he jumped a long line of
others waiting for a dream job at Paramount Studios and wound up on the set of
"Mission: Impossible" working with Bruce Geller, Peter Graves, Martin Landau, Leonard Nimoy
and got his first taste of the writer's life with the help of producer Bruce Lansbury.
Suzanne takes Bob from "Mission: Impossible" to "Six Million Dollar Man" and
"Bionic Woman" where he sells his first script without having
the common sense to get an agent.
Suzanne describes how she got her first gig at Universal as a
production secretary who couldn't type a word...and how it eventually
led to her winding up in front of the cameras.
the common senseto get an agent.