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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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♪ (TENSE MUSIC PLAYING) ♪
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There can't be anybody
in the United States
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{\an8}that doesn't know,
like, and admire Laura Petrie
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of The Dick Van Dyke Show.
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Otherwise known as the beautiful
and talented, Mary Tyler Moore.
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- Welcome.
- Hello. Thank you.
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(AUDIENCE APPLAUDING)
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DAVID SUSSKIND:
Uh, Mary Tyler Moore,
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the world should know
that your name is really
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- Mary Tyler Moore Tinker.
- Yes, isn't that darling?
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SUSSKIND: It should be
"Mary Tyler Tinker Moore."
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MARY TYLER MOORE: Yes.
(CHUCKLES)
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SUSSKIND:
Was the wife you played there
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{\an8}kind of an idealization
of the American wife?
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{\an8}There is no such woman.
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{\an8}- Most of them are wretched nags.
- I don't think so.
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Yes. I think
we all have our moments.
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Some of us have
the nagging personality
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come to the fore
more often than others.
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But Laura Petrie broke down
and cried,
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and she used ploys
to get her way,
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and she was nasty
and short-tempered.
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And she was also sweet and soft.
And she was many things.
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Oh, no, I think she was sort
of a strained idealization
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of the American woman
as she thinks she is.
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But they had no connection
with reality.
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- I mean...
- Well--
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...the woman that's talking
all the time in a restaurant.
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I claim that you can walk
into an average restaurant
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and if you
have observed life enough,
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American
female-male relationships,
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you can look in the restaurant
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and tell who's married
and who's single.
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- Yeah. Sometimes you can.
- Where the woman is just
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yakking like crazy.
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- MARY: Mm-hmm.
- SUSSKIND:
And the man has a hurt,
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- bored expression.
- MARY: Yes. (CHUCKLES)
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They're real married
at that point.
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I know, I know. I--
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SUSSKIND:
And where she's listening
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and he's just elocutioning,
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and she's just wide-eyed
and attentive. They're engaged.
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MARY: Oh, gosh! I'll probably
get in trouble saying this
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but I really do think more wives
should investigate
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the possibilities of working
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because I agree
with Betty Friedan
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and her point of view
in her book,
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The Feminine Mystique,
that women are,
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or should be,
human beings first,
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women second,
wives and mothers third.
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It should fall in that order
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and that if there's
enough thought and effort
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put into this attempt
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that it will not
hurt the family,
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it will not hurt the work,
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that they can function
very nicely together.
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I'm proving it.
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♪ (EERIE MUSIC PLAYING) ♪
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{\an8}GLORIA STEINEM:
Just consider what visitors
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{\an8}from outer space might think
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{\an8}if they were confronted
with the last 20 years
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{\an8}of television and films
as the only evidence
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of what American women
were like.
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It would be quite clear
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that we slept
in false eyelashes
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and full makeup,
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and indeed
spend all of our lives
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with such ornamentation on us.
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Some of us would be taken to be
a servant class of some sort.
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Some of us would be taken
to be sex-crazed,
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others, totally puritanical.
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Most of us would be man junkies,
very strange creatures
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who were thought to need men
for our identities.
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If we lived alone, we would
almost have to be widows,
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at least until recently
on television.
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- That's begun to change.
- ♪ (DRAMATIC MUSIC PLAYING) ♪
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And I could discover
the secret of immortality
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and people would still say,
"Look at that single girl."
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MARY: It stems from a love
of what you're doing.
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{\an8}It would be unnatural
not to have ambition,
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{\an8}I would think.
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JAMES LIPTON:
Her seven Emmy Awards,
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{\an8}her three Golden Globe Awards,
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{\an8}- and her
Academy Award nomination...
- (AUDIENCE APPLAUDING)
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...are only the beginning
of the story.
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MARY: While I would never
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consciously choose pain
for myself,
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sometimes you have
to have a little pain,
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a little disappointment.
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Oh, Rob!
Are you saying it's my fault?
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DINAH SHORE:
Every woman in America
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must have dreamed
about being just like her.
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Please welcome,
Mary Tyler Moore.
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(AUDIENCE CHEERING, APPLAUDING)
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Believe me, Millie. It--
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- It wasn't quite like this.
- JERRY PARIS: Oh. (CHUCKLES)
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Well, I believe you
but how you gonna convince
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forty million other people?
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What should we know about you?
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Uh, well, most of the things
that you should know about me,
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I'm not gonna tell. (CHUCKLES)
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I don't take huge risks, though.
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I'm not a foolish person.
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You know
what's got me really upset?
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- I have no idea.
- I just sounded nuts.
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- REPORTER 1: Mary!
- (INDISTINCT CHATTER)
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(CAMERA SHUTTERS CLICKING)
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REPORTER 2:
It's your first nomination.
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- How do you feel tonight?
- Wonderful!
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MARY: What she really needed
to do, and ultimately
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gets the last chance to do,
is have a life of her own.
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♪ (MUSIC CONCLUDES) ♪
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{\an8}RONA BARRETT:
I don't think anyone
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{\an8}in the entertainment business...
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has gone through more changes
than you have...
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- in this--
- Wait a minute,
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that can't be true. (CHUCKLES)
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RONA: In this past year,
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I guess one would call it
a midlife crisis.
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I hate
that term "crisis" though.
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- A midlife change.
- RONA: A midlife change. Okay.
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And the courage
to follow through
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with what you perceive as...
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a necessary change.
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It may be difficult
for people to understand,
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because they see
somebody like me
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who has been working
for a long time
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and has been
relatively successful
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and they think,
"Oh, that's independence."
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It is not necessarily true.
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♪ (GENTLE MUSIC PLAYING) ♪
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(ENGINE RUMBLING)
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MARY: I was born
December 29th, 1936
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in Brooklyn, New York.
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As my father reminds me though,
of impoverished nobility.
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I was a feisty kid.
I was always in fights
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- with the neighborhood kids.
- (INDISTINCT CHATTER)
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Possibly because it was
an ethnically charged situation.
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By that time, it had become
an Orthodox Jewish community.
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And here I was,
this English-Irish Catholic kid.
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I knew at a very early age
what I wanted to do.
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Some people refer to it
as indulging in my instincts
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and my artistic bent.
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I call it just showing off...
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(CHUCKLES)
...which was what I did
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from about
three years of age on.
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And my grandfather
once said of me,
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"This child will either end up
on stage or in jail."
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RONA: What part did your father
play in your life?
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MARY: A very important part.
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He was a rather
intimidating force.
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- ♪ (PENSIVE MUSIC PLAYING) ♪
- MARY: I always
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wanted his respect.
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I knew I could never reach him
on the intellectual level.
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So, in order to win him over,
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I had to do it
on some other plane.
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And for me
then it was performing,
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which my father
was never very good at.
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My mother was an alcoholic.
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She was most at ease
at a party or having a party.
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Everybody's good-time best gal,
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not the most attuned
to parenting
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that I would have liked.
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She would start drinking
in the day
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and she would not stop
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until somebody found the bottle
and took it away.
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I didn't know anything
about alcoholism at the time
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and I thought that she was
getting drunk at me.
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That if she really,
really loved me, she could stop.
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My aunt and grandmother
who lived together
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had taken me for weekends
from the time I was an infant,
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making it easier for my mother
and father to have a good time
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on their own.
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I thought the best way
to get my parents' attention
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and approval,
is by succeeding as a dancer.
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I started studying
when I was eight years old
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- when we moved to California.
- ♪ (CHEERFUL MUSIC PLAYING) ♪
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- (SEAGULLS SQUAWKING)
- (INDISTINCT CHATTER)
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MARY: That was
just after World War Two.
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And I had
a very successful uncle
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named Harold Hackett,
who was with MCA.
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He had been
luring the family to come
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to this land
of sunshine and promise for all
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called "Hollywood."
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{\an8}And since my father
was working for ConEd
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and didn't really have
what you'd call a career,
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and my Aunt Birdie
who was working for radio,
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she decided that she could
take care of herself out there.
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And so the whole family moved.
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And at that point,
the whole family included
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my seven-year younger brother, John.
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I started taking dance classes
right away
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that my Aunt Birdie paid for
and drove me to.
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And for which my grandmother
made the costumes
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for the recitals.
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It was pretty locked
into my mind and heart and soul
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that that's what I was gonna do.
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♪ (MUSIC FADES) ♪
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RONA: When you went out
for your very first job...
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- Mm-hmm.
- ...did you get it?
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Yes. Yes.
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♪ (WHIMSICAL MUSIC PLAYING) ♪
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VOICE OVER:
♪ Every day's a holiday ♪
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♪ With Hotpoint ♪
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MARY: The very first job
was the day
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after the high school
graduation prom.
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RONA: And what was the job?
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MARY: And that was the series
of commercials
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on the Ozzie and Harriet
television show,
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in which I played a pixie
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representing the Hotpoint appliances.
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I was Happy Hotpoint.
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- (SIGHS, LAUGHS)
- (RONA CHUCKLES)
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Happy Hotpoint
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00:09:16,591 --> 00:09:18,393
- at your service.
- ♪ (AD JINGLE PLAYS, FADES) ♪
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MARY: I really liked doing that.
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{\an8}- ♪ (MELLOW MUSIC PLAYING) ♪
- MARY: But I had also married
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{\an8}very soon after
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{\an8}that first commercial
was filmed.
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And despite my best intentions,
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I found myself pregnant
two months later.
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And that was a difficult moment
to live through
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for the Hotpoint people too
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because there I was
with these emerging breasts
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in my little gray leotard,
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not looking
very much like the logo
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they had in mind. (CHUCKLES)
So, that had to be truncated.
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{\an8}Then I went on
to become Richard's mother.
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{\an8}I think there's
a terrible contempt for women
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{\an8}still in our society,
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{\an8}implicit in this
glorified image of women
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only as a sex object.
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00:10:04,539 --> 00:10:07,709
Implicit in this glorified insistence
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00:10:07,709 --> 00:10:09,412
that woman's fulfillment
is motherhood
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00:10:09,412 --> 00:10:10,813
and only motherhood.
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00:10:10,813 --> 00:10:12,815
Cows can have babies
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00:10:12,815 --> 00:10:15,818
but women have minds
as well as breasts,
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as well as sexual organs.
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00:10:17,786 --> 00:10:20,556
And women are made
to feel guilty
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if they really use their minds.
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We don't know.
We don't know, you know.
244
00:10:25,193 --> 00:10:27,397
We really don't know
what women can do,
245
00:10:27,397 --> 00:10:28,800
what women can be.
246
00:10:29,934 --> 00:10:33,001
MARY: My mother
became pregnant at age 40.
247
00:10:33,001 --> 00:10:36,004
So, my mother's child,
my sister, Elizabeth,
248
00:10:36,004 --> 00:10:39,775
was three months older
than her nephew, Richard.
249
00:10:39,775 --> 00:10:42,610
And they grew up
in the same playpen
250
00:10:42,610 --> 00:10:45,046
because as I began
to work more often,
251
00:10:45,046 --> 00:10:47,649
my mother,
who was now a sober person
252
00:10:47,649 --> 00:10:50,155
that I could count on,
watched those two.
253
00:10:50,721 --> 00:10:51,853
I married very early.
254
00:10:51,853 --> 00:10:53,755
I married
right after high school.
255
00:10:53,755 --> 00:10:59,762
And... I think that choice
had to do with the pressure
256
00:10:59,762 --> 00:11:03,165
that was put on young women
during the '50s,
257
00:11:03,165 --> 00:11:05,801
which said
that the ultimate goal in life
258
00:11:05,801 --> 00:11:07,468
is marriage, children,
259
00:11:07,468 --> 00:11:10,172
and career
if you can work it in.
260
00:11:10,172 --> 00:11:15,010
- (TELEPHONE RINGING)
- ♪ (MUSIC CONCLUDES) ♪
261
00:11:15,010 --> 00:11:17,412
- Hello.
- MARY: Who's this?
262
00:11:17,412 --> 00:11:21,050
{\an8}This is Richard Diamond
of the disintegrating Diamonds.
263
00:11:21,050 --> 00:11:22,885
{\an8}MARY:
Well, at least you're awake.
264
00:11:22,885 --> 00:11:25,020
Don't take any money on it,
Samuel. (EXHALES)
265
00:11:25,020 --> 00:11:27,022
MARY: You wanted me
to make sure you were up.
266
00:11:27,022 --> 00:11:29,652
She's due at your home
in about five minutes.
267
00:11:29,652 --> 00:11:32,261
- DAVID JANSSEN: Who's due?
- MARY: Dorian Crane.
268
00:11:32,261 --> 00:11:36,164
She lives on the right side
of the tracks in Beverly Hills.
269
00:11:36,164 --> 00:11:38,000
- Which side is that?
- ♪ (SENTIMENTAL MUSIC PLAYING) ♪
270
00:11:38,000 --> 00:11:39,535
'Cause I did
a really strange part.
271
00:11:39,535 --> 00:11:40,703
- DINAH: Did you?
- Yeah.
272
00:11:40,703 --> 00:11:41,971
{\an8}- Because my--
- DINAH: Not in a porno!
273
00:11:41,971 --> 00:11:43,371
{\an8}- No, no. (CHUCKLES) No.
- (DINAH CHUCKLES)
274
00:11:43,371 --> 00:11:45,207
{\an8}On a series called
The Richard Diamond Show.
275
00:11:45,207 --> 00:11:46,775
{\an8}- Which starred David Janssen.
- DINAH: Yeah.
276
00:11:46,775 --> 00:11:49,110
{\an8}MARY: I played
his telephone operator.
277
00:11:49,110 --> 00:11:50,479
- DINAH: Oh!
- MARY: But you never saw
278
00:11:50,479 --> 00:11:52,314
- my face.
- DINAH: Never?
279
00:11:52,314 --> 00:11:54,116
MARY: Never.
You just heard my voice.
280
00:11:54,116 --> 00:11:55,951
(IN A DEEP VOICE) Which was
quite a few octaves lower
281
00:11:55,951 --> 00:11:57,347
than the voice
you're used to hearing.
282
00:11:57,347 --> 00:11:59,354
- DINAH: Really?
- Yes. Sexy Sam.
283
00:11:59,354 --> 00:12:01,689
DINAH: That's funny.
They never saw your face?
284
00:12:01,689 --> 00:12:03,024
MARY: (IN NORMAL VOICE)
Never saw my face.
285
00:12:03,024 --> 00:12:04,292
The most frustrating thing...
286
00:12:04,292 --> 00:12:05,828
- DINAH: That's not fair!
- ...that I ever experienced.
287
00:12:05,828 --> 00:12:06,962
- DINAH: Well, are you--
- Yes, it was
288
00:12:06,962 --> 00:12:08,931
because this would've been
such a letdown.
289
00:12:08,931 --> 00:12:10,131
- You--
- That's not a sexy face.
290
00:12:10,131 --> 00:12:11,700
- Yes. Oh, tell them.
- Is this it?
291
00:12:11,700 --> 00:12:15,040
(AUDIENCE APPLAUDING)
292
00:12:19,110 --> 00:12:21,976
MARY: She became
every male viewer's fantasy.
293
00:12:21,976 --> 00:12:26,014
And there was big hype about her
because the producers decided
294
00:12:26,014 --> 00:12:30,986
to create some interest
by not revealing who she was.
295
00:12:30,986 --> 00:12:35,558
Now I was making,
for each episode, 85 dollars,
296
00:12:35,558 --> 00:12:36,991
and I decided that
297
00:12:36,991 --> 00:12:39,261
{\an8}because of all the attention
that the character was getting,
298
00:12:39,261 --> 00:12:40,795
{\an8}that I should go in
and ask for more.
299
00:12:40,795 --> 00:12:42,464
{\an8}And I did. I went
into the producer's office
300
00:12:42,464 --> 00:12:45,034
{\an8}and I said, "I really,
really think that I should get
301
00:12:45,034 --> 00:12:47,302
a little more money
for this role that I'm playing."
302
00:12:47,302 --> 00:12:50,305
And without letting me
finish the sentence, he said,
303
00:12:50,305 --> 00:12:53,708
"Do you know, my dear,
anybody with a good pair of legs
304
00:12:53,708 --> 00:12:55,711
and a sultry voice
can play this part
305
00:12:55,711 --> 00:12:57,679
so goodbye
and good luck to you."
306
00:12:57,679 --> 00:12:58,914
♪ (ROMANTIC MUSIC PLAYING) ♪
307
00:12:58,914 --> 00:13:05,154
♪ Ten cents a dance
That's what they pay me ♪
308
00:13:05,154 --> 00:13:11,459
♪ Gosh, how they weigh me down ♪
309
00:13:11,459 --> 00:13:18,528
♪ Ten cents a dance
Softies and rough guys ♪
310
00:13:18,703 --> 00:13:24,205
♪ Tough guys who tear my gown ♪
311
00:13:24,205 --> 00:13:26,208
DINAH: Did you ever start out
like everybody else,
312
00:13:26,208 --> 00:13:29,712
having frustrations and periods
when you couldn't get...
313
00:13:29,712 --> 00:13:30,979
- Oh.
- ...couldn't get arrested?
314
00:13:30,979 --> 00:13:32,381
- Many, many.
- DINAH: Really?
315
00:13:32,381 --> 00:13:34,383
And when I could get arrested,
it was on a television show
316
00:13:34,383 --> 00:13:37,686
that was probably
really very badly done.
317
00:13:37,686 --> 00:13:40,656
{\an8}Carrying microfilm
of government property
318
00:13:40,656 --> 00:13:42,685
{\an8}- is illegal.
- (GASPS)
319
00:13:42,685 --> 00:13:46,093
You're under arrest,
suspicion of espionage.
320
00:13:46,093 --> 00:13:48,691
- Vern, you can take her in now.
- ♪ (DRAMATIC MUSIC PLAYING) ♪
321
00:13:48,691 --> 00:13:50,232
{\an8}MARY: I did a lot
of those boring shows.
322
00:13:50,232 --> 00:13:51,933
{\an8}- ♪ (WHIMSICAL MUSIC PLAYING) ♪
- DINAH: I never heard of any job
323
00:13:51,933 --> 00:13:53,102
you didn't get.
324
00:13:53,102 --> 00:13:54,770
Well, there was one part
I didn't get
325
00:13:54,770 --> 00:13:56,071
and I'm really very glad
I didn't.
326
00:13:56,071 --> 00:13:58,339
It was to play the part
of Danny Thomas's daughter.
327
00:13:58,339 --> 00:14:00,509
{\an8}- (AUDIENCE APPLAUDING)
- Now, ladies and gentlemen,
328
00:14:00,509 --> 00:14:01,777
a formal introduction please,
329
00:14:01,777 --> 00:14:04,046
{\an8}for our guest star,
Mary Tyler Moore.
330
00:14:04,046 --> 00:14:09,250
(AUDIENCE APPLAUDING)
331
00:14:09,250 --> 00:14:11,987
A few years ago, we auditioned
a lot of young girls
332
00:14:11,987 --> 00:14:14,690
to play the part
of my older daughter, Terry,
333
00:14:14,690 --> 00:14:15,724
in the family series.
334
00:14:15,724 --> 00:14:18,360
And Mary was one
of the two finalists.
335
00:14:18,360 --> 00:14:20,929
But it was left to me
to have to tell her
336
00:14:20,929 --> 00:14:22,798
that she wasn't right
for the part.
337
00:14:22,798 --> 00:14:25,801
- (SIGHS)
- And I'd like you to see
338
00:14:25,801 --> 00:14:27,903
why she wasn't right
for the part.
339
00:14:27,903 --> 00:14:30,172
- Come here.
- (CLEARS THROAT)
340
00:14:30,172 --> 00:14:34,877
- (AUDIENCE LAUGHING)
- Now, tell the truth.
341
00:14:34,877 --> 00:14:36,979
Would anybody believe
that that nose
342
00:14:36,979 --> 00:14:38,581
could be the father
of that nose?
343
00:14:38,581 --> 00:14:40,515
(AUDIENCE LAUGHING)
344
00:14:40,515 --> 00:14:42,751
The day that I read
for the part of Laura Petrie
345
00:14:42,751 --> 00:14:44,853
- on The Dick Van Dyke Show...
- ♪ (GENTLE MUSIC PLAYING) ♪
346
00:14:44,853 --> 00:14:48,223
...had followed a week
of rejections,
347
00:14:48,223 --> 00:14:50,726
and I was having coffee
with a friend,
348
00:14:50,726 --> 00:14:52,360
and my agent tracked me down
and said,
349
00:14:52,360 --> 00:14:54,163
"You've gotta get over
and see Carl Reiner.
350
00:14:54,163 --> 00:14:55,797
He wants to read with you
351
00:14:55,797 --> 00:14:57,065
for the part
of Dick Van Dyke's wife."
352
00:14:57,065 --> 00:14:58,667
And I said,
"No, I'm not going. I'm sorry.
353
00:14:58,667 --> 00:15:00,201
I can't take
any more rejections.
354
00:15:00,201 --> 00:15:02,503
You know I'm not
gonna get that part." (CHUCKLES)
355
00:15:02,503 --> 00:15:06,376
I was terrified
because it was my hero,
356
00:15:06,376 --> 00:15:07,342
Carl Reiner,
357
00:15:07,342 --> 00:15:10,746
who was the writer-producer
of this show.
358
00:15:10,746 --> 00:15:12,213
{\an8}ROB REINER:
The Dick Van Dyke Show
359
00:15:12,213 --> 00:15:15,183
{\an8}was originally
a show for my father to star in.
360
00:15:15,183 --> 00:15:17,152
{\an8}- (LAUGHTER)
- ROB: My father had been
on television
361
00:15:17,152 --> 00:15:19,988
{\an8}for many years with Sid Caesar
in the Show of Shows
362
00:15:19,988 --> 00:15:22,224
{\an8}- and Caesar's Hour, and then...
- (VOCALIZES)
363
00:15:22,224 --> 00:15:23,491
...when the show was over,
364
00:15:23,491 --> 00:15:26,795
he started writing
a series for himself.
365
00:15:26,795 --> 00:15:28,030
{\an8}And he played the character
366
00:15:28,030 --> 00:15:30,232
{\an8}that Dick Van Dyke
plays ultimately.
367
00:15:30,232 --> 00:15:32,067
It was called
Head of the Family.
368
00:15:32,067 --> 00:15:35,470
They'd made the pilot
and it didn't sell.
369
00:15:35,470 --> 00:15:37,973
And he had a meeting
with Sheldon Leonard,
370
00:15:37,973 --> 00:15:39,440
with Danny Thomas and they said,
371
00:15:39,440 --> 00:15:42,978
"The show is great
but we gotta find a new you."
372
00:15:42,978 --> 00:15:45,247
So, they recommended
Dick Van Dyke.
373
00:15:45,247 --> 00:15:47,482
And I'm glad
Dick wound up doing it
374
00:15:47,482 --> 00:15:52,253
because it's what we say,
"We take the comedy of the Jew
375
00:15:52,253 --> 00:15:55,194
and we push it through the goy."
376
00:15:56,260 --> 00:15:59,228
I never knew that
there had been a prior pilot.
377
00:15:59,228 --> 00:16:01,863
So I went over there
and thank God I did.
378
00:16:01,863 --> 00:16:03,532
{\an8}Do you remember me
grabbing your head?
379
00:16:03,532 --> 00:16:04,699
{\an8}I think you got scared.
380
00:16:04,699 --> 00:16:06,935
{\an8}You thought I was gonna--
Because producers in those days,
381
00:16:06,935 --> 00:16:08,637
and maybe still,
have a reputation
382
00:16:08,637 --> 00:16:09,971
of wanting something more than--
383
00:16:09,971 --> 00:16:12,240
- GUEST 1: Bodies. Mm-hmm.
- Yeah, something more
than the talent.
384
00:16:12,240 --> 00:16:14,843
And I heard her,
there was a ping in her voice.
385
00:16:14,843 --> 00:16:16,745
You only read--
I read about 60 girls
386
00:16:16,745 --> 00:16:17,880
and I read
the full script with 'em
387
00:16:17,880 --> 00:16:19,181
- hoping to find something.
- GUEST 2: Yeah.
388
00:16:19,181 --> 00:16:20,716
She read three lines.
389
00:16:20,716 --> 00:16:22,151
I don't like you.
390
00:16:22,151 --> 00:16:25,221
(AUDIENCE LAUGHING)
391
00:16:25,221 --> 00:16:27,055
At all!
392
00:16:27,055 --> 00:16:28,556
Three simple lines.
There was such a ping
393
00:16:28,556 --> 00:16:30,562
- and an excitement
and a reality to her.
- GUEST 1: Really?
394
00:16:32,262 --> 00:16:34,758
RONA: What attracted you
to Laura Petrie?
395
00:16:34,758 --> 00:16:36,532
The chance to work
with Dick Van Dyke
396
00:16:36,532 --> 00:16:37,532
and Carl Reiner.
397
00:16:37,532 --> 00:16:40,770
I mean... (CHUCKLES)
...what more do you need?
398
00:16:40,770 --> 00:16:43,371
Carl,
it was such a platonic love.
399
00:16:43,371 --> 00:16:46,174
- He was my father, my brother.
- ♪ (GENTLE MUSIC PLAYING) ♪
400
00:16:46,174 --> 00:16:50,412
MARY: He was my teacher,
my member of the audience
401
00:16:50,412 --> 00:16:54,049
for whom I wanted
to do the scene well.
402
00:16:54,049 --> 00:16:56,718
When I heard him laugh,
that's all I needed.
403
00:16:56,718 --> 00:17:00,155
How often does my boss ask us
over to his house?
404
00:17:00,155 --> 00:17:04,063
{\an8}How often is one called upon
to be a responsible parent?
405
00:17:06,363 --> 00:17:08,496
{\an8}ROB:
They just immediately gelled.
406
00:17:08,496 --> 00:17:10,465
- ♪ (MUSIC FADES) ♪
- (PAN SIZZLING)
407
00:17:10,465 --> 00:17:12,835
The president of the network
will be there.
408
00:17:12,835 --> 00:17:14,870
ROB: It was seamless.
409
00:17:14,870 --> 00:17:17,309
Well,
then I think you should go.
410
00:17:17,875 --> 00:17:18,874
Oh, I mean it, honey.
411
00:17:18,874 --> 00:17:21,276
There's no sense
both us staying home.
412
00:17:21,276 --> 00:17:23,112
After all,
you have a responsibility
413
00:17:23,112 --> 00:17:25,114
to your work
and I fully understand that.
414
00:17:25,114 --> 00:17:27,650
We just liked each other,
right from the beginning.
415
00:17:27,650 --> 00:17:29,621
- You do?
- Sure I do.
416
00:17:30,854 --> 00:17:33,688
- You don't mind if I go alone?
- Not at all, darling.
417
00:17:33,688 --> 00:17:36,959
There was right away, a sense
of being very comfortable
418
00:17:36,959 --> 00:17:38,860
in the humor that we shared.
419
00:17:38,860 --> 00:17:40,132
Well...
420
00:17:41,332 --> 00:17:43,064
It's just that I couldn't go
to a party
421
00:17:43,064 --> 00:17:45,704
knowing my son was on the verge
of being sick.
422
00:17:48,839 --> 00:17:51,039
I couldn't enjoy myself.
423
00:17:51,039 --> 00:17:53,174
Such chemistry. Such charisma.
424
00:17:53,174 --> 00:17:55,143
I watch the reruns
of The Dick Van Dyke Show
425
00:17:55,143 --> 00:17:56,611
- and I remember every one of--
- (MARY CHUCKLES)
426
00:17:56,611 --> 00:17:58,147
- And I break up, you know?
- MARY: I do too.
427
00:17:58,147 --> 00:17:59,347
I watch them
every once in a while
428
00:17:59,347 --> 00:18:00,582
just before we do our show.
429
00:18:00,582 --> 00:18:02,117
I have a little television set
in the trailer...
430
00:18:02,117 --> 00:18:03,251
- DINAH: Really?
- ...and I catch it.
431
00:18:03,251 --> 00:18:04,353
But it's a little like
432
00:18:04,353 --> 00:18:06,321
the portrait of Dorian Gray
in reverse.
433
00:18:06,321 --> 00:18:08,290
- DINAH: Oh, no. Oh, no.
- I hate it. (LAUGHS)
434
00:18:08,290 --> 00:18:10,291
- I was such a baby then.
- No, we're getting--
435
00:18:10,291 --> 00:18:12,227
- Oh, we're getting better!
- That's true. Yes!
436
00:18:12,227 --> 00:18:13,428
We look much better,
don't you think?
437
00:18:13,428 --> 00:18:14,896
We're not getting older.
We're getting better.
438
00:18:14,896 --> 00:18:17,099
- Right! Better and prettier!
- (AUDIENCE CHEERING, APPLAUDING)
439
00:18:17,099 --> 00:18:19,534
So, eat your hearts out,
you 22-year-olds!
440
00:18:19,534 --> 00:18:21,469
- DINAH: Yes! Let's not forget...
- (CHUCKLES)
441
00:18:21,469 --> 00:18:23,538
- ♪ (WHIMSICAL MUSIC PLAYING) ♪
- MARY: Going in, I knew I was in
442
00:18:23,538 --> 00:18:26,141
with a bunch
of black belts in comedy
443
00:18:26,141 --> 00:18:29,110
and I had
no real experience at it.
444
00:18:29,110 --> 00:18:31,413
I didn't know what I was doing.
445
00:18:31,413 --> 00:18:33,749
DICK VAN DYKE:
There was no hint at all
446
00:18:33,749 --> 00:18:35,150
{\an8}that Mary could do comedy.
447
00:18:35,150 --> 00:18:37,119
{\an8}I said she may be
the next Katharine Hepburn
448
00:18:37,119 --> 00:18:39,320
{\an8}but I don't know... (CHUCKLES)
...about comedy.
449
00:18:39,320 --> 00:18:44,154
{\an8}MARY: Early on, Carl saw
some spark of humor in me.
450
00:18:44,154 --> 00:18:47,963
He wrote a script called
My Blonde-Haired Brunette.
451
00:18:47,963 --> 00:18:50,398
That was my initiation.
452
00:18:50,398 --> 00:18:54,269
{\an8}- Oh, Millie, I'm getting old.
- Oh, come on, Laura.
453
00:18:54,269 --> 00:18:56,371
{\an8}One gray hair
isn't gonna make you old.
454
00:18:56,371 --> 00:18:59,041
{\an8}Yeah, well,
it's not just a gray hair,
455
00:18:59,041 --> 00:19:01,243
it's Rob's whole attitude
toward me.
456
00:19:01,243 --> 00:19:02,410
We each know exactly
457
00:19:02,410 --> 00:19:04,413
what the other
is gonna think and do.
458
00:19:04,413 --> 00:19:07,015
There just aren't
any more surprises left.
459
00:19:07,015 --> 00:19:10,953
- Well, you have to make them.
- Well, how do you do that?
460
00:19:10,953 --> 00:19:13,255
Well,
whenever Jerry starts taking me
461
00:19:13,255 --> 00:19:15,424
for granted,
I have a simple remedy.
462
00:19:15,424 --> 00:19:17,927
- What?
- I just bleach my hair.
463
00:19:17,927 --> 00:19:19,227
(AUDIENCE LAUGHING)
464
00:19:19,227 --> 00:19:22,467
Millie, do you think
that if I bleach my hair that--
465
00:19:22,900 --> 00:19:23,903
No I couldn't.
466
00:19:25,003 --> 00:19:26,035
Why not?
467
00:19:26,035 --> 00:19:28,938
Well, I don't think Rob
would approve of me as a blonde.
468
00:19:28,938 --> 00:19:30,640
How does he feel
about Marilyn Monroe
469
00:19:30,640 --> 00:19:31,840
and Brigitte Bardot?
470
00:19:31,840 --> 00:19:35,110
- (AUDIENCE LAUGHING)
- ♪ (SOFT PIANO MUSIC PLAYING) ♪
471
00:19:35,110 --> 00:19:36,681
Millie, I'll do it.
472
00:19:38,182 --> 00:19:43,588
(AUDIENCE LAUGHING)
473
00:19:45,824 --> 00:19:47,957
Why? Why would...
474
00:19:47,957 --> 00:19:51,359
{\an8}MARY: I had always been
a big fan of Nanette Fabray,
475
00:19:51,359 --> 00:19:52,995
{\an8}who worked with Carl Reiner
476
00:19:52,995 --> 00:19:55,230
{\an8}and Sid Caesar
on the Show of Shows.
477
00:19:55,230 --> 00:19:58,033
{\an8}Twelve long glorious years
of marriage,
478
00:19:58,033 --> 00:20:00,770
{\an8}twelve years out the window.
479
00:20:00,770 --> 00:20:01,969
(GLASS SHATTERS)
480
00:20:01,969 --> 00:20:04,973
MARY: And I loved her humor.
I loved the way she cried.
481
00:20:04,973 --> 00:20:06,541
Who do you think you are anyway?
482
00:20:06,541 --> 00:20:10,006
- (SOBS HEAVILY)
- (AUDIENCE LAUGHING)
483
00:20:10,006 --> 00:20:11,546
MARY: And so,
when I was called upon
484
00:20:11,546 --> 00:20:14,083
to bring forth the tears
in my scene,
485
00:20:14,083 --> 00:20:15,383
I'm not sure
how much of it
486
00:20:15,383 --> 00:20:18,587
was out and out stolen
from Miss Fabray.
487
00:20:18,587 --> 00:20:19,620
...self?
488
00:20:19,620 --> 00:20:23,225
We are dyeing it back
to its natural color.
489
00:20:23,225 --> 00:20:25,794
Laura's been a blonde
all afternoon.
490
00:20:25,794 --> 00:20:29,164
MARY: And he wants to know why,
what happened?
491
00:20:29,164 --> 00:20:31,733
- And then I try to tell him.
- Honey, why?
492
00:20:31,733 --> 00:20:33,001
(WHIMPERS) "Why?"
493
00:20:33,001 --> 00:20:35,303
(GASPS) Well, yesterday morning,
494
00:20:35,303 --> 00:20:39,474
when I kissed you
and you said, "Don't do that."
495
00:20:39,474 --> 00:20:44,479
And you came down to breakfast
in your yucky shirt
496
00:20:44,479 --> 00:20:46,949
and all you do is...
(MUMBLES INDISTINCTLY)
497
00:20:46,949 --> 00:20:49,918
And that proved
that I could handle comedy.
498
00:20:49,918 --> 00:20:51,686
And the gray hair!
499
00:20:51,686 --> 00:20:54,990
{\an8}DICK: It was just fascinating
to watch Mary Tyler Moore
500
00:20:54,990 --> 00:20:56,959
{\an8}just grasp it so quickly.
501
00:20:56,959 --> 00:20:58,527
...yucky! (SOBS)
502
00:20:58,527 --> 00:20:59,661
(AUDIENCE LAUGHING, APPLAUDING)
503
00:20:59,661 --> 00:21:02,164
MARY: A housewife
on a situation comedy
504
00:21:02,164 --> 00:21:04,534
had never been given
the opportunity
505
00:21:04,534 --> 00:21:06,436
to do this kind of stuff.
506
00:21:06,436 --> 00:21:07,803
And it was at that point
507
00:21:07,803 --> 00:21:10,471
that Carl started writing
show after show
508
00:21:10,471 --> 00:21:12,811
and scene after scene
for me to be funny.
509
00:21:14,944 --> 00:21:18,413
{\an8}ROB: Mary and her
being beautiful and being funny,
510
00:21:18,413 --> 00:21:21,517
{\an8}that combination was looked at
as being unfeminine.
511
00:21:21,517 --> 00:21:24,620
{\an8}I mean, Lucy was a rarity
512
00:21:24,620 --> 00:21:27,289
{\an8}but even Lucy had to resort
513
00:21:27,289 --> 00:21:29,757
{\an8}to much more
physical kind of stuff.
514
00:21:29,757 --> 00:21:33,698
{\an8}It wasn't thought of
as a feminine thing to do.
515
00:21:34,664 --> 00:21:36,831
MARY: I was the voice
of the audience.
516
00:21:36,831 --> 00:21:41,773
I was the single voice of sanity
in amongst all these lunatics.
517
00:21:44,508 --> 00:21:46,174
YOUNG LARRY MATHEWS:
Ellen's got a disease.
518
00:21:46,174 --> 00:21:48,911
Well, Ellen's got a temperature.
I wouldn't call it a disease.
519
00:21:48,911 --> 00:21:51,513
Well, whatever she got,
I hope I get it too.
520
00:21:51,513 --> 00:21:53,649
{\an8}LARRY MATHEWS:
Mary was a combination to me
521
00:21:53,649 --> 00:21:55,684
{\an8}of a mother figure and a sister.
522
00:21:55,684 --> 00:21:58,553
{\an8}She would always take time
if she saw me struggling.
523
00:21:58,553 --> 00:22:01,223
{\an8}It was important to Mary
to have that connection,
524
00:22:01,223 --> 00:22:04,526
since I was playing her son,
to me to be that child of hers.
525
00:22:04,526 --> 00:22:06,628
And I think it did help her
through things.
526
00:22:06,628 --> 00:22:08,563
{\an8}BEVERLY SANDERS:
She had Richie, her son,
527
00:22:08,563 --> 00:22:13,001
{\an8}but she and her husband
had separated,
528
00:22:13,001 --> 00:22:14,569
{\an8}so she had to make a living
529
00:22:14,569 --> 00:22:16,132
- and she did.
- ♪ (MUSIC CONCLUDES) ♪
530
00:22:16,132 --> 00:22:17,639
- Sally, you know the bit.
- I'll do it.
531
00:22:17,639 --> 00:22:19,542
- I need the chair and the hat.
- TV ACTOR:
I got it right here.
532
00:22:19,542 --> 00:22:21,777
(INDISTINCT CLAMORING)
533
00:22:21,777 --> 00:22:24,813
(CHUCKLES)
Oh, your husband's awfully cute.
534
00:22:24,813 --> 00:22:27,550
He must be
a lot of fun to live with.
535
00:22:27,550 --> 00:22:29,718
I laugh all day long.
536
00:22:29,718 --> 00:22:32,387
MARY: Laura actually had
opinions of her own,
537
00:22:32,387 --> 00:22:35,118
and while
she was asserting herself,
538
00:22:35,118 --> 00:22:37,192
she also
didn't make Dick Van Dyke
539
00:22:37,192 --> 00:22:38,859
- look like a dummy.
- ♪ (CHEERFUL MUSIC PLAYING) ♪
540
00:22:38,859 --> 00:22:41,863
MARY: Society's expectations
at that point still said,
541
00:22:41,863 --> 00:22:44,599
"Hey, wait a minute, lady,
you'll only go so far here."
542
00:22:44,599 --> 00:22:47,769
I think we broke new ground
and that was helped
543
00:22:47,769 --> 00:22:50,873
by my insistence
on wearing pants.
544
00:22:50,873 --> 00:22:52,875
I said, "I've seen
all the other actresses
545
00:22:52,875 --> 00:22:54,676
and they're always
running the vacuum
546
00:22:54,676 --> 00:22:58,280
in these little flowered frocks
with high heels on,
547
00:22:58,280 --> 00:22:59,547
and I don't do that,
548
00:22:59,547 --> 00:23:01,582
and I don't know
any of my friends who do that.
549
00:23:01,582 --> 00:23:03,788
So, why don't we try
to make this real?"
550
00:23:04,988 --> 00:23:09,024
{\an8}BEVERLY: She brought
her own style into sitcoms.
551
00:23:09,024 --> 00:23:11,827
{\an8}She wore pants,
which was the first time
552
00:23:11,827 --> 00:23:14,462
on television
a woman wore pants.
553
00:23:14,462 --> 00:23:17,398
She brought that
into the world.
554
00:23:17,398 --> 00:23:19,468
{\an8}BILL PERSKY:
The network was horrified,
555
00:23:19,468 --> 00:23:22,970
{\an8}but Carl said,
"No, this is what sells."
556
00:23:22,970 --> 00:23:27,475
MARY: The network asked that,
when she does wear these pants,
557
00:23:27,475 --> 00:23:30,646
make sure
they don't "cup under,"
558
00:23:30,646 --> 00:23:33,614
so that you didn't see ass.
559
00:23:33,614 --> 00:23:37,252
{\an8}BILL: She wasn't someone at home
waiting for him
560
00:23:37,252 --> 00:23:38,854
{\an8}to solve all the problems,
561
00:23:38,854 --> 00:23:40,923
- making dinner in high heels.
- (WHISTLES)
562
00:23:40,923 --> 00:23:43,828
BILL:
She was a contemporary woman.
563
00:23:45,329 --> 00:23:47,629
♪ (MUSIC CONTINUES) ♪
564
00:23:47,629 --> 00:23:50,798
{\an8}ROB: Mary was very private
and very guarded.
565
00:23:50,798 --> 00:23:54,130
{\an8}But she gave something out,
and whether it was not
566
00:23:54,130 --> 00:23:55,331
{\an8}- how she felt inside...
- (YELPS)
567
00:23:55,331 --> 00:23:58,441
{\an8}...but the way
she projected herself on screen,
568
00:23:58,441 --> 00:24:00,545
you just fell in love.
569
00:24:03,180 --> 00:24:04,245
(SCREAMS)
570
00:24:04,245 --> 00:24:05,513
Women liked me.
571
00:24:05,513 --> 00:24:07,582
They were not envious
of the fact
572
00:24:07,582 --> 00:24:10,619
that their husbands
had a crush on me.
573
00:24:10,619 --> 00:24:11,854
It was okay with them.
574
00:24:11,854 --> 00:24:13,288
When I would meet people,
they'd say,
575
00:24:13,288 --> 00:24:16,559
"My husband loves you so much,
and he thinks you're so sexy."
576
00:24:16,559 --> 00:24:17,959
And this was an odd thing
577
00:24:17,959 --> 00:24:21,664
because they were also able
to identify with me as a friend.
578
00:24:21,664 --> 00:24:24,099
There was no resentment,
no fear.
579
00:24:24,099 --> 00:24:26,705
♪ (UPBEAT MUSIC PLAYING) ♪
580
00:24:31,308 --> 00:24:35,144
{\an8}♪ Mary, Mary Tyler Moore ♪
581
00:24:35,144 --> 00:24:38,779
{\an8}♪ I would run a mile or more ♪
582
00:24:38,779 --> 00:24:43,956
♪ Just to get a smile
Or more from you ♪
583
00:24:45,823 --> 00:24:49,191
♪ Mary, Mary Tyler Moore ♪
584
00:24:49,191 --> 00:24:53,062
♪ You're the image
Of the lady next door ♪
585
00:24:53,062 --> 00:24:56,764
♪ Polishing the furniture
Fussing in the cupboard ♪
586
00:24:56,764 --> 00:25:00,101
♪ Looking so adorable
And you're Mother Hubbard ♪
587
00:25:00,101 --> 00:25:02,337
- (CAMERA SHUTTER CLICKS)
- DANNY KAYE:
♪ Cookies in the oven ♪
588
00:25:02,337 --> 00:25:04,073
♪ Chicken in the pot ♪
589
00:25:04,073 --> 00:25:06,475
- Mr. Kaye?
- Yes, ma'am.
590
00:25:06,475 --> 00:25:08,310
- Thanks a lot.
- ♪ (MUSIC CONCLUDES) ♪
591
00:25:08,310 --> 00:25:09,477
{\an8}The winner in Hollywood
592
00:25:09,477 --> 00:25:11,246
{\an8}is Mary Tyler Moore
for The Dick Van Dyke...
593
00:25:11,246 --> 00:25:16,021
- (AUDIENCE APPLAUDING, CHEERING)
- ♪ (JOYOUS MUSIC PLAYING) ♪
594
00:25:23,194 --> 00:25:25,593
- Oh! (CHUCKLES)
- ♪ (MUSIC CONCLUDES) ♪
595
00:25:25,593 --> 00:25:28,296
Oh, thank you so very,
very much.
596
00:25:28,296 --> 00:25:30,298
I can't tell you how happy I am.
597
00:25:30,298 --> 00:25:32,535
And I wanna thank
Dick and Rosie
598
00:25:32,535 --> 00:25:34,536
and Maury and Larry...
599
00:25:34,536 --> 00:25:37,005
(EXHALES) ...and Jerry,
and Carl and Sheldon
600
00:25:37,005 --> 00:25:39,307
for making me look good.
Thank you.
601
00:25:39,307 --> 00:25:44,183
- (AUDIENCE CHEERING, APPLAUDING)
- ♪ (UPBEAT MUSIC PLAYING) ♪
602
00:25:47,652 --> 00:25:48,951
♪ (MUSIC CONCLUDES) ♪
603
00:25:48,951 --> 00:25:52,187
{\an8}Was that you sort of up there,
the sweet, giving,
604
00:25:52,187 --> 00:25:54,022
{\an8}kindly dispositioned woman?
Or are you really
605
00:25:54,022 --> 00:25:55,657
- a wild mad swinger?
- (CHUCKLES)
606
00:25:55,657 --> 00:25:57,426
I think I fall
somewhere in between.
607
00:25:57,426 --> 00:25:58,960
I'm not sure just where.
608
00:25:58,960 --> 00:26:02,530
But the disposition was a result
of the writing of Carl Reiner,
609
00:26:02,530 --> 00:26:04,900
and the attitude
was very often my own.
610
00:26:04,900 --> 00:26:06,968
I always tried to make
the character as close
611
00:26:06,968 --> 00:26:09,571
to me and my own reactions
as possible.
612
00:26:09,571 --> 00:26:11,839
Simply because it's easier
to sustain a character
613
00:26:11,839 --> 00:26:14,246
week after week after week
if you do it that way.
614
00:26:15,313 --> 00:26:19,514
{\an8}♪ (PENSIVE MUSIC PLAYING) ♪
615
00:26:19,514 --> 00:26:22,385
MARY: Lucille Ball
was our land lady.
616
00:26:22,385 --> 00:26:23,819
She owned Desilu.
617
00:26:23,819 --> 00:26:26,655
And we'd be rehearsing
on the set
618
00:26:26,655 --> 00:26:28,991
and then we'd hear a laugh
that wasn't coming
619
00:26:28,991 --> 00:26:31,060
- from the floor.
- (LUCILLE BALL LAUGHING)
620
00:26:31,060 --> 00:26:33,495
MARY: We looked up
and there she was
621
00:26:33,495 --> 00:26:34,796
on the catwalk.
622
00:26:34,796 --> 00:26:38,500
And she'd be up there
watching us, just observing us.
623
00:26:38,500 --> 00:26:41,203
And I will never forget,
one day,
624
00:26:41,203 --> 00:26:44,772
she came up to me and she said,
"You're very good."
625
00:26:44,772 --> 00:26:47,279
That was the greatest gift
I ever received.
626
00:26:48,613 --> 00:26:49,945
LUCILLE: Hi, this is Lucy.
627
00:26:49,945 --> 00:26:52,613
{\an8}For my money, one of
the brightest young talents
628
00:26:52,613 --> 00:26:54,716
{\an8}to have appeared
on the television horizons
629
00:26:54,716 --> 00:26:57,586
{\an8}in the last few years
is a vivacious,
630
00:26:57,586 --> 00:26:59,154
{\an8}Emmy award-winning brunette
631
00:26:59,154 --> 00:27:03,458
{\an8}from The Dick Van Dyke Show,
Mary Tyler Moore.
632
00:27:03,458 --> 00:27:05,093
- Hi, Mary.
- MARY: How are you, Lucy?
633
00:27:05,093 --> 00:27:07,496
LUCILLE: I am very, very happy
to see you today
634
00:27:07,496 --> 00:27:09,398
and I mean sincerely what I said
635
00:27:09,398 --> 00:27:11,599
about your being one
of the brightest young talents
636
00:27:11,599 --> 00:27:13,435
I have ever seen
in the industry.
637
00:27:13,435 --> 00:27:16,337
I guess you're kind of aware
of my admiration for you
638
00:27:16,337 --> 00:27:19,341
because through the years,
I've sort of sent wavelengths
639
00:27:19,341 --> 00:27:21,043
- your way. (CHUCKLES)
- MARY: You are awfully kind.
640
00:27:21,043 --> 00:27:24,179
I have been made aware of it
and I'm thrilled.
641
00:27:24,179 --> 00:27:25,680
Believe me, I am.
642
00:27:25,680 --> 00:27:27,115
LUCILLE: Now then,
about your husband.
643
00:27:27,115 --> 00:27:29,418
You have a very
handsome husband, Mary.
644
00:27:29,418 --> 00:27:31,119
- MARY: Oh, thank you.
- LUCILLE: He is as handsome
645
00:27:31,119 --> 00:27:33,822
as you are beautiful.
And you are beautiful,
646
00:27:33,822 --> 00:27:35,524
- inside and out.
- MARY: Thank you.
647
00:27:35,524 --> 00:27:36,859
LUCILLE: How long
have you been married?
648
00:27:36,859 --> 00:27:38,259
MARY: Two years.
A little over two years.
649
00:27:38,259 --> 00:27:40,328
- LUCILLE: Mm-hmm.
- MARY: He's a wonderful person.
650
00:27:40,328 --> 00:27:42,397
- ♪ (SENTIMENTAL MUSIC PLAYING) ♪
- MARY: I had just separated
651
00:27:42,397 --> 00:27:45,634
and was about to be divorced
from my first husband.
652
00:27:45,634 --> 00:27:47,837
Grant was
with the advertising agency
653
00:27:47,837 --> 00:27:49,737
that then handled
Procter & Gamble.
654
00:27:49,737 --> 00:27:52,841
So, he was a sometime visitor
to the set,
655
00:27:52,841 --> 00:27:54,504
although his office
was really in New York
656
00:27:54,504 --> 00:27:56,378
and we were working
in Los Angeles.
657
00:27:56,378 --> 00:27:59,449
{\an8}GRANT TINKER: I came out here
to see them shoot the pilot
658
00:27:59,449 --> 00:28:02,384
{\an8}and met Mary on the set.
659
00:28:02,384 --> 00:28:04,714
She was dynamite,
and what was great about her
660
00:28:04,714 --> 00:28:08,890
was that she wasn't actressy,
she was a real person.
661
00:28:08,890 --> 00:28:10,859
And I just fell in love
with her.
662
00:28:10,859 --> 00:28:13,094
MARY: There was definitely
an attraction.
663
00:28:13,094 --> 00:28:17,032
He asked me to have dinner.
It was in fact the same day
664
00:28:17,032 --> 00:28:18,694
that it was announced
in the trade papers
665
00:28:18,694 --> 00:28:21,069
that I had separated
from my husband and I said,
666
00:28:21,069 --> 00:28:22,504
"Well, I don't think I should.
667
00:28:22,504 --> 00:28:26,875
I think some time should elapse
before I begin to see people."
668
00:28:26,875 --> 00:28:28,409
About a month later, I was told
669
00:28:28,409 --> 00:28:31,814
that I was expected to go
to New York on a publicity tour,
670
00:28:31,814 --> 00:28:34,682
and I found out
that it was maneuvered
671
00:28:34,682 --> 00:28:37,085
by Grant Tinker.
He is the one who said,
672
00:28:37,085 --> 00:28:38,781
"She needs to come
to New York to do...
673
00:28:38,781 --> 00:28:41,089
(CHUCKLES) ...some publicity,"
which is where he was,
674
00:28:41,089 --> 00:28:44,025
and it was love
at first meeting.
675
00:28:44,025 --> 00:28:48,130
GRANT: And out of that meeting,
came a relationship that grew
676
00:28:48,130 --> 00:28:53,168
{\an8}and by this time I was divorced,
and ultimately we were married.
677
00:28:53,168 --> 00:28:56,004
{\an8}MARY:
It felt very, very special.
678
00:28:56,004 --> 00:28:58,474
{\an8}Not only were we alike
in many ways
679
00:28:58,474 --> 00:29:00,941
and attracted to each other,
680
00:29:00,941 --> 00:29:06,448
but there was this recognition
of drive that each had.
681
00:29:06,448 --> 00:29:08,183
♪ (MUSIC CONCLUDES) ♪
682
00:29:08,183 --> 00:29:11,219
{\an8}How can a woman be wed
to two forces in life?
683
00:29:11,219 --> 00:29:13,956
{\an8}In other words,
you're only half married
684
00:29:13,956 --> 00:29:15,825
if you're in show business
685
00:29:15,825 --> 00:29:17,926
because that demands
so much of your ego,
686
00:29:17,926 --> 00:29:19,695
so much investment
of your energy.
687
00:29:19,695 --> 00:29:20,862
I don't think so.
688
00:29:20,862 --> 00:29:23,198
I think I could waste
an awful lot more energy
689
00:29:23,198 --> 00:29:26,101
sitting at home,
having nothing to do,
690
00:29:26,101 --> 00:29:28,170
other than just talk
with the girls
691
00:29:28,170 --> 00:29:32,942
about what gossip they've heard
or just chase after the kids
692
00:29:32,942 --> 00:29:35,010
instead of spending time
with my son
693
00:29:35,010 --> 00:29:37,012
because I know we don't have
as much time
694
00:29:37,012 --> 00:29:39,079
as most parents
and children have.
695
00:29:39,079 --> 00:29:41,050
- I make good use of that time.
- ♪ (PENSIVE MUSIC PLAYING) ♪
696
00:29:41,050 --> 00:29:42,852
- MARY: I don't waste it.
- SUSSKIND: Don't you think
697
00:29:42,852 --> 00:29:44,452
working mothers,
whatever their jobs,
698
00:29:44,452 --> 00:29:47,483
sort of shortchange
their children emotionally,
699
00:29:47,483 --> 00:29:48,523
- or even just physically?
- Hmm.
700
00:29:48,523 --> 00:29:50,725
SUSSKIND: They're not there
enough of the time.
701
00:29:50,725 --> 00:29:52,327
- They're not together.
- I guess, sometimes--
702
00:29:52,327 --> 00:29:53,195
They're not relating.
703
00:29:53,195 --> 00:29:54,562
- They're not--
- Sometimes it happens
704
00:29:54,562 --> 00:29:56,031
but I don't let it
happen that way.
705
00:29:56,031 --> 00:29:58,099
I refuse to travel without--
706
00:29:58,099 --> 00:30:00,368
I refuse to be separated
from my husband.
707
00:30:00,368 --> 00:30:02,571
And I'm very blessed.
I'm very lucky in that
708
00:30:02,571 --> 00:30:04,873
I have been able
to work out a career
709
00:30:04,873 --> 00:30:07,208
and still hold to this.
710
00:30:07,208 --> 00:30:09,878
{\an8}JOHN TINKER: I knew
that my stepmother was famous.
711
00:30:09,878 --> 00:30:11,312
{\an8}I had little interest in that
712
00:30:11,312 --> 00:30:13,081
{\an8}but I really wanted
to get to know Mary
713
00:30:13,081 --> 00:30:16,719
and thought that she was
a very natural parent
714
00:30:16,719 --> 00:30:18,286
with me and my siblings
715
00:30:18,286 --> 00:30:20,392
and a little less so
with Richie.
716
00:30:21,693 --> 00:30:23,292
Is this too much?
717
00:30:23,292 --> 00:30:25,126
JOHN: I think there may
have been some tension
718
00:30:25,126 --> 00:30:27,129
and some guilt on Mary's part.
719
00:30:27,129 --> 00:30:30,199
She tried but the vicissitudes
of that business
720
00:30:30,199 --> 00:30:33,468
just require long hours
and long absences.
721
00:30:33,468 --> 00:30:36,238
Rich had so little interest
about the business
722
00:30:36,238 --> 00:30:38,473
and watching
his mom practice her craft
723
00:30:38,473 --> 00:30:42,677
that there was
a lot less time spent together.
724
00:30:42,677 --> 00:30:46,882
{\an8}I know he liked spending
a lot of time with his dad.
725
00:30:46,882 --> 00:30:48,784
{\an8}And they went fishing
and hunting,
726
00:30:48,784 --> 00:30:50,720
{\an8}and that was
far more Richie's speed
727
00:30:50,720 --> 00:30:52,415
{\an8}than being in a studio.
728
00:30:52,415 --> 00:30:54,089
{\an8}LARRY: When he came on set,
729
00:30:54,089 --> 00:30:56,992
{\an8}I think he was
so excited to be around Mom.
730
00:30:56,992 --> 00:30:58,393
{\an8}I always loved
when Richie was there.
731
00:30:58,393 --> 00:31:00,562
{\an8}Richie was able
to bring out the bad boy in me,
732
00:31:00,562 --> 00:31:03,065
running around the rafters,
running behind the scenes,
733
00:31:03,065 --> 00:31:04,434
sneaking a cigarette.
734
00:31:04,434 --> 00:31:06,001
So, we were pretty devious
735
00:31:06,001 --> 00:31:09,208
about what we were doing
at the time, just being kids.
736
00:31:14,612 --> 00:31:15,978
♪ (MUSIC FADES) ♪
737
00:31:15,978 --> 00:31:17,680
♪ (UPBEAT MUSIC PLAYING) ♪
738
00:31:17,680 --> 00:31:21,950
♪ I'm deep just like a chasm ♪
739
00:31:21,950 --> 00:31:26,221
♪ I've no enthusiasm ♪
740
00:31:26,221 --> 00:31:30,195
♪ I'm bored when I'm adored ♪
741
00:31:30,728 --> 00:31:35,030
♪ I'm blasé! ♪
742
00:31:35,030 --> 00:31:38,400
MARY: That era was
an unenlightened time in which
743
00:31:38,400 --> 00:31:41,436
most women felt that
the only thing they could do
744
00:31:41,436 --> 00:31:43,606
with their lives
was to serve their husbands
745
00:31:43,606 --> 00:31:45,207
and children.
746
00:31:45,207 --> 00:31:47,738
I still believe in marriage
and children,
747
00:31:47,738 --> 00:31:49,806
but also looking at yourself
and saying,
748
00:31:49,806 --> 00:31:52,014
"Hey, if I have something else
to contribute,
749
00:31:52,014 --> 00:31:54,283
I can figure out a way
to do that,
750
00:31:54,283 --> 00:31:56,218
and I can figure out a way
to get my husband
751
00:31:56,218 --> 00:31:59,921
to help me do it and my children
to help me do it too."
752
00:31:59,921 --> 00:32:03,292
Laura Petrie led
a very dull life, didn't she?
753
00:32:03,292 --> 00:32:06,094
- RONA: Yeah. It--
- I think looking back.
754
00:32:06,094 --> 00:32:07,632
- RONA: You think so?
- Yeah.
755
00:32:08,432 --> 00:32:09,764
I mean,
she didn't really light up
756
00:32:09,764 --> 00:32:12,768
until Rob walked in the door
and tripped over the ottoman.
757
00:32:12,768 --> 00:32:14,837
- (LAUGHS)
- (RONA LAUGHS)
758
00:32:14,837 --> 00:32:17,138
- So, she depended upon a man?
- Right.
759
00:32:17,138 --> 00:32:20,404
RONA: And in parallel situation
in your life,
760
00:32:20,404 --> 00:32:21,476
you depended upon a man.
761
00:32:21,476 --> 00:32:24,746
Yeah, except that I always
had the work too.
762
00:32:24,746 --> 00:32:27,349
- ♪ (TENSE MUSIC PLAYING) ♪
- DICK: We're now off the air.
763
00:32:27,349 --> 00:32:31,219
{\an8}To all intents and purposes,
we stopped shooting our show.
764
00:32:31,219 --> 00:32:33,722
That little group of people
down there at our table
765
00:32:33,722 --> 00:32:36,324
know how gratified I am to them.
766
00:32:36,324 --> 00:32:38,894
{\an8}You know, the first day,
Carl said, "Five years is it.
767
00:32:38,894 --> 00:32:40,891
{\an8}If we go five years, that's all,
768
00:32:40,891 --> 00:32:43,065
{\an8}because you get repetitive.
You get stale."
769
00:32:43,065 --> 00:32:44,733
{\an8}None of us
really wanted to quit.
770
00:32:44,733 --> 00:32:47,302
I've often been blamed
for taking the show off the air.
771
00:32:47,302 --> 00:32:49,370
(CHUCKLES) I had nothing
to do with it.
772
00:32:49,370 --> 00:32:51,907
{\an8}In Hollywood,
the winner is Mary Tyler Moore.
773
00:32:51,907 --> 00:32:55,380
(AUDIENCE APPLAUDING, CHEERING)
774
00:33:01,051 --> 00:33:02,217
Oh, gosh!
775
00:33:02,217 --> 00:33:04,786
Of course I wanna thank
the Academy
776
00:33:04,786 --> 00:33:06,521
for giving me this great honor.
777
00:33:06,521 --> 00:33:09,824
But I wanna also wanna take this
opportunity publicly
778
00:33:09,824 --> 00:33:13,095
to thank everybody connected
with The Dick Van Dyke Show
779
00:33:13,095 --> 00:33:16,397
for five of the happiest years
of my life.
780
00:33:16,397 --> 00:33:19,735
There's never gonna be another
occasion like that again.
781
00:33:19,735 --> 00:33:21,136
And this is gonna serve always
782
00:33:21,136 --> 00:33:22,804
to be the most
wonderful reminder
783
00:33:22,804 --> 00:33:24,906
of that experience. Thank you.
784
00:33:24,906 --> 00:33:28,676
(AUDIENCE CHEERING, APPLAUDING)
785
00:33:28,676 --> 00:33:31,480
{\an8}BILL: They turned down
incredible offers
786
00:33:31,480 --> 00:33:34,016
{\an8}from the network
to continue the show.
787
00:33:34,016 --> 00:33:36,184
MARY: Dick had done Mary Poppins
788
00:33:36,184 --> 00:33:40,288
and was anxious to go on
and try other movies.
789
00:33:40,288 --> 00:33:42,958
Carl was writing
a Broadway play.
790
00:33:42,958 --> 00:33:44,559
It was devastating to me
791
00:33:44,559 --> 00:33:47,562
because it was the end
of a family.
792
00:33:47,562 --> 00:33:49,731
- ♪ (SOMBER MUSIC PLAYING) ♪
- BEVERLY: Van Dyke
793
00:33:49,731 --> 00:33:51,099
{\an8}went off the air
794
00:33:51,099 --> 00:33:53,501
{\an8}and she, of course,
thought her life was over
795
00:33:53,501 --> 00:33:56,138
because, you know,
what was she gonna do?
796
00:33:56,138 --> 00:33:58,006
SUSSKIND: You said
that you would have no regrets
797
00:33:58,006 --> 00:33:59,507
in leaving
The Dick Van Dyke Show
798
00:33:59,507 --> 00:34:02,611
{\an8}because you were sort of tired
of playing Miss Goodie-Goodie.
799
00:34:02,611 --> 00:34:05,513
- That you were always
ordering milkshakes in public.
- Oh. No. (CHUCKLES)
800
00:34:05,513 --> 00:34:07,648
And now,
you could have straight scotch.
801
00:34:07,648 --> 00:34:10,819
Oh, goodness! Now, you see--
Now, it probably took me
802
00:34:10,819 --> 00:34:12,354
two and a half hours
to say that,
803
00:34:12,354 --> 00:34:14,089
and they capsulized it
down to a point
804
00:34:14,089 --> 00:34:16,025
where I sounded
really terribly shocking
805
00:34:16,025 --> 00:34:18,593
and dismal
and kind of bitter about life.
806
00:34:18,593 --> 00:34:20,329
I assure you I'm not.
And I assure you
807
00:34:20,329 --> 00:34:21,563
that I miss
every one of the people
808
00:34:21,563 --> 00:34:23,165
on The Van Dyke Show desperately.
809
00:34:23,165 --> 00:34:25,668
They became my good friends.
My only friends.
810
00:34:25,668 --> 00:34:27,269
♪ (MUSIC FADES) ♪
811
00:34:27,269 --> 00:34:30,639
♪ (MELLOW MUSIC PLAYING) ♪
812
00:34:30,639 --> 00:34:32,273
{\an8}BILL: When she left
The Van Dyke Show,
813
00:34:32,273 --> 00:34:35,610
{\an8}Universal Pictures
gave her a five-picture deal,
814
00:34:35,610 --> 00:34:40,515
{\an8}and the unprecedented condition
that she had the right to refuse
815
00:34:40,515 --> 00:34:43,118
what pictures
she didn't wanna do.
816
00:34:43,118 --> 00:34:46,088
So, that was
a very powerful position
817
00:34:46,088 --> 00:34:48,356
that she could never
be in anything
818
00:34:48,356 --> 00:34:50,392
she didn't feel
was right for her.
819
00:34:50,392 --> 00:34:53,128
Her first picture
was Thoroughly Modern Millie,
820
00:34:53,128 --> 00:34:56,431
where she played a co-star
with Julie Andrews.
821
00:34:56,431 --> 00:34:59,268
{\an8}So, that was her entry
into movies.
822
00:34:59,268 --> 00:35:02,307
{\an8}She wasn't a star
but she had a great part.
823
00:35:03,773 --> 00:35:06,475
Well, I'm looking for life,
raw and real.
824
00:35:06,475 --> 00:35:08,978
I'm going to be an actress
on the stage.
825
00:35:08,978 --> 00:35:11,146
An actress? How exciting.
826
00:35:11,146 --> 00:35:14,249
Yes, but I've got
to live a lot first.
827
00:35:14,249 --> 00:35:16,085
You should do very well
on the stage.
828
00:35:16,085 --> 00:35:18,323
Pictures too.
You're very pretty.
829
00:35:18,757 --> 00:35:20,155
(SIGHS)
830
00:35:20,155 --> 00:35:24,125
{\an8}- (INDISTINCT CHATTER)
- BILL: After that film,
831
00:35:24,125 --> 00:35:27,462
{\an8}she got an offer
to play Holly Golightly
832
00:35:27,462 --> 00:35:31,199
in a musical version
of Breakfast at Tiffany's.
833
00:35:31,199 --> 00:35:35,403
And it was everything
she ever dreamed of.
834
00:35:35,403 --> 00:35:38,273
- ♪ (SENTIMENTAL MUSIC PLAYING) ♪
- BILL: Mary always wanted
835
00:35:38,273 --> 00:35:39,707
to be on Broadway,
836
00:35:39,707 --> 00:35:43,511
but Universal would not let her
out of her contract to do it.
837
00:35:43,511 --> 00:35:46,514
And she said,
"What if I give up the right
838
00:35:46,514 --> 00:35:51,119
to approve of the pictures I do,
and you can put me in anything."
839
00:35:51,119 --> 00:35:53,221
And that was very attractive
to them.
840
00:35:53,221 --> 00:35:55,390
So, they let her do the show.
841
00:35:55,390 --> 00:35:58,793
- ♪ (MUSIC FADES) ♪
- (FILM PROJECTOR RUNNING)
842
00:35:58,793 --> 00:36:03,994
- ♪ (MELLOW MUSIC PLAYING) ♪
- (RAIN PATTERING)
843
00:36:03,994 --> 00:36:06,068
{\an8}JIM BURROWS:
I was the playwright's son.
844
00:36:06,068 --> 00:36:07,803
{\an8}I said,
"Can I work on the show?"
845
00:36:07,803 --> 00:36:08,969
{\an8}And he said, "Sure."
846
00:36:08,969 --> 00:36:12,040
{\an8}So, I became the assistant
to the assistant stage manager.
847
00:36:12,040 --> 00:36:14,642
It was not my dad's best work
848
00:36:14,642 --> 00:36:18,247
but he had Mary Tyler Moore,
Richard Chamberlain,
849
00:36:18,247 --> 00:36:19,915
two of the biggest stars
in television,
850
00:36:19,915 --> 00:36:21,451
who would sell tickets.
851
00:36:21,451 --> 00:36:23,218
We opened in Philadelphia.
852
00:36:23,218 --> 00:36:25,086
MARY: (OVER MIC)
Infinitely sweeter!
853
00:36:25,086 --> 00:36:27,226
♪ (DRAMATIC MUSIC PLAYING) ♪
854
00:36:28,721 --> 00:36:29,691
{\an8}(MARY CLEARS THROAT)
855
00:36:29,691 --> 00:36:34,295
{\an8}♪ A girl should hide
in this world of men ♪
856
00:36:34,295 --> 00:36:36,732
♪ A breakfast at Tiffany's ♪
857
00:36:36,732 --> 00:36:41,403
♪ Now and then
To make them feel ♪
858
00:36:41,403 --> 00:36:43,839
♪ There are solid things... ♪
859
00:36:43,839 --> 00:36:45,006
JIM: She was wonderful.
860
00:36:45,006 --> 00:36:48,509
She had been a dancer before,
so she had stage presence.
861
00:36:48,509 --> 00:36:50,879
And then the producer,
David Merrick, decided
862
00:36:50,879 --> 00:36:53,148
that he was gonna fire my father
863
00:36:53,148 --> 00:36:56,118
and replace him
with Edward Albee.
864
00:36:56,118 --> 00:36:57,352
And I said to my dad,
865
00:36:57,352 --> 00:36:59,783
"Can I book passage
on the Titanic?"
866
00:36:59,783 --> 00:37:00,722
♪ (TENSE MUSIC PLAYING) ♪
867
00:37:00,722 --> 00:37:03,091
JIM: We opened for previews
on Broadway
868
00:37:03,091 --> 00:37:05,593
and it was an utter disaster.
869
00:37:05,593 --> 00:37:07,062
In the audience,
you heard somebody say,
870
00:37:07,062 --> 00:37:08,663
"Why don't you
write a better show?"
871
00:37:08,663 --> 00:37:11,133
So, Mary would come off
in the wings
872
00:37:11,133 --> 00:37:12,467
and she was weeping.
873
00:37:12,467 --> 00:37:15,574
She was sad for a long time.
It was a bad experience.
874
00:37:17,141 --> 00:37:18,306
{\an8}MARY: It was a disaster.
875
00:37:18,306 --> 00:37:20,879
{\an8}Just awful.
Everything fell apart.
876
00:37:22,179 --> 00:37:24,213
INTERVIEWER:
Mr. Merrick, what went wrong?
877
00:37:24,213 --> 00:37:25,480
DAVID MERRICK:
Just not a very good show.
878
00:37:25,480 --> 00:37:27,682
That sometimes happens
on Broadway.
879
00:37:27,682 --> 00:37:30,119
{\an8}INTERVIEWER: Truman Capote,
who wrote the original book
880
00:37:30,119 --> 00:37:32,554
{\an8}from which the musical
was adapted,
881
00:37:32,554 --> 00:37:34,356
said he didn't like the score
882
00:37:34,356 --> 00:37:36,424
and he didn't like
the leading lady.
883
00:37:36,424 --> 00:37:37,760
Well, I disagree
with him on that.
884
00:37:37,760 --> 00:37:40,028
I think the score was good
and I'm--
885
00:37:40,028 --> 00:37:41,463
I like the leading lady
very much
886
00:37:41,463 --> 00:37:42,830
and I'm going
with Mary Tyler Moore
887
00:37:42,830 --> 00:37:45,334
and I'm going to try
to find another play for her.
888
00:37:45,334 --> 00:37:46,735
{\an8}♪ (MELANCHOLIC MUSIC PLAYING) ♪
889
00:37:46,735 --> 00:37:51,573
{\an8}BILL: Mary was the reason
that all of the New York press,
890
00:37:51,573 --> 00:37:54,944
{\an8}"Well, it shows you can't take
a television star..."
891
00:37:54,944 --> 00:37:57,445
{\an8}And she was brutalized.
892
00:37:57,445 --> 00:37:58,883
MARY: That was
a very difficult...
893
00:37:59,449 --> 00:38:00,915
part of my life then.
894
00:38:00,915 --> 00:38:03,952
{\an8}BILL: And on top of it,
Universal could put her
895
00:38:03,952 --> 00:38:06,354
{\an8}in whatever pictures
they wanted her to be in.
896
00:38:06,354 --> 00:38:09,491
{\an8}So, she played
a couple of meaningless roles.
897
00:38:09,491 --> 00:38:11,459
{\an8}ANNOUNCER:
It stars Mary Tyler Moore.
898
00:38:11,459 --> 00:38:12,828
{\an8}MARY:
Well, don't just stand there.
899
00:38:12,828 --> 00:38:15,197
Zip me up
while I put on my stockings.
900
00:38:15,197 --> 00:38:18,403
{\an8}That's the way
you kiss your sister?
901
00:38:19,303 --> 00:38:20,601
{\an8}You gotta be kidding.
902
00:38:20,601 --> 00:38:24,376
{\an8}I'm a member of the Order
of the Little Sisters of Mary.
903
00:38:26,778 --> 00:38:28,443
{\an8}BILL: She had gone from being
904
00:38:28,443 --> 00:38:31,879
{\an8}the most popular woman
in America
905
00:38:31,879 --> 00:38:36,251
{\an8}to being a has-been in three
and a half, four years.
906
00:38:36,251 --> 00:38:38,387
♪ (MUSIC FADES) ♪
907
00:38:38,387 --> 00:38:41,156
♪ (SOFT PIANO MUSIC PLAYING) ♪
908
00:38:41,156 --> 00:38:43,591
MARY: We came back
to Los Angeles
909
00:38:43,591 --> 00:38:47,423
with three tails
between our legs. (CHUCKLES)
910
00:38:47,423 --> 00:38:51,700
But it was about at that time
that I had a miscarriage.
911
00:38:51,700 --> 00:38:53,602
And when I was in the hospital
912
00:38:53,602 --> 00:38:56,366
for the routine procedures
that follow,
913
00:38:56,366 --> 00:39:00,370
they discovered that
while normal blood sugar levels
914
00:39:00,370 --> 00:39:05,514
are to be somewhere between 70
and 110, mine was 750.
915
00:39:05,514 --> 00:39:08,216
And they were amazed
that I was still walking around.
916
00:39:08,216 --> 00:39:09,684
And to this day, they don't know
917
00:39:09,684 --> 00:39:12,958
which came first,
the miscarriage or the diabetes.
918
00:39:15,025 --> 00:39:17,226
I don't know
how I got through that year.
919
00:39:17,226 --> 00:39:19,064
It shook me to my core.
920
00:39:22,033 --> 00:39:22,864
♪ (MUSIC FADES) ♪
921
00:39:22,864 --> 00:39:25,367
- (FILM PROJECTOR RUNNING)
- (DRUM ROLL)
922
00:39:25,367 --> 00:39:26,935
ANNOUNCER:
Tonight, "Dick Van Dyke
923
00:39:26,935 --> 00:39:29,939
and the Other Woman,"
Mary Tyler Moore.
924
00:39:29,939 --> 00:39:31,641
- (AUDIENCE APPLAUDING)
- ♪ (MELLOW MUSIC PLAYING) ♪
925
00:39:31,641 --> 00:39:33,008
{\an8}BILL:
We were doing these specials
926
00:39:33,008 --> 00:39:35,744
{\an8}for Dick Van Dyke, one a year,
and I said to Dick,
927
00:39:35,744 --> 00:39:39,547
{\an8}"It's now four years since you
and Mary have been together.
928
00:39:39,547 --> 00:39:42,417
I think it would be a great idea
to have a reunion show.
929
00:39:42,417 --> 00:39:45,020
And also,
I think Mary could use it."
930
00:39:45,020 --> 00:39:48,689
So, we did a show and in it,
we really featured Mary.
931
00:39:48,689 --> 00:39:51,526
And normally that phrase,
"the other woman,"
932
00:39:51,526 --> 00:39:53,229
implies a relationship
between two people
933
00:39:53,229 --> 00:39:54,396
which might be
934
00:39:54,396 --> 00:39:57,865
- considered unsavory.
- Yeah.
935
00:39:57,865 --> 00:40:00,769
But of course, the relationship
between Mary and myself is...
936
00:40:00,769 --> 00:40:03,204
is, of course,
completely savory.
937
00:40:03,204 --> 00:40:04,807
- Completely.
- (AUDIENCE LAUGHING)
938
00:40:04,807 --> 00:40:06,541
Actually,
when we were doing the series,
939
00:40:06,541 --> 00:40:08,477
people thought we were married.
(CHUCKLES)
940
00:40:08,477 --> 00:40:10,946
Oh, boy! So much so that,
I often had trouble
941
00:40:10,946 --> 00:40:13,648
checking into a hotel
with my real wife, Margie.
942
00:40:13,648 --> 00:40:15,183
And I had trouble
checking into a hotel
943
00:40:15,183 --> 00:40:17,553
- with my real husband, Grant.
- (AUDIENCE LAUGHING)
944
00:40:17,553 --> 00:40:18,686
And Margie and Grant
945
00:40:18,686 --> 00:40:20,188
had trouble checking in
anywhere. (CHUCKLES)
946
00:40:20,188 --> 00:40:22,224
- ♪ (FUNKY MUSIC PLAYING) ♪
- ♪ If they could see me now ♪
947
00:40:22,224 --> 00:40:23,926
♪ Those noble suffragettes... ♪
948
00:40:23,926 --> 00:40:25,761
They gave me
a wonderful opportunity
949
00:40:25,761 --> 00:40:27,829
to sing and dance and clown.
950
00:40:27,829 --> 00:40:31,866
♪ We got the situation
Firmly in hand ♪
951
00:40:31,866 --> 00:40:35,705
♪ The weaker sex controls
The wealth of the land ♪
952
00:40:35,705 --> 00:40:37,172
♪ (SOFT PIANO MUSIC PLAYING) ♪
953
00:40:37,172 --> 00:40:40,610
BILL: The show went on the air,
got huge ratings, great reviews,
954
00:40:40,610 --> 00:40:42,744
very happy that we did it.
955
00:40:42,744 --> 00:40:45,947
They suddenly rediscovered
Mary Tyler Moore.
956
00:40:45,947 --> 00:40:49,817
MARY: CBS noted
how successful it was
957
00:40:49,817 --> 00:40:52,388
and they asked me
if I wanted to do my own show.
958
00:40:52,388 --> 00:40:53,854
To which I said yes.
959
00:40:53,854 --> 00:40:56,825
- (TELEPHONE RINGING)
- ♪ (GENTLE MUSIC PLAYING) ♪
960
00:40:56,825 --> 00:40:58,561
{\an8}BEVERLY: She called me
and she was screaming
961
00:40:58,561 --> 00:41:00,061
{\an8}into the phone and I said,
962
00:41:00,061 --> 00:41:03,433
{\an8}"Stop screaming. What?"
And of course she got her break.
963
00:41:03,433 --> 00:41:05,666
It's like God took over.
964
00:41:05,666 --> 00:41:09,471
For Mary to step off
of that show and into
965
00:41:09,471 --> 00:41:12,941
The Mary Tyler Moore Show
was really something.
966
00:41:12,941 --> 00:41:13,942
She was scared.
967
00:41:13,942 --> 00:41:17,480
But to be on a series
of her own,
968
00:41:17,480 --> 00:41:19,148
there wasn't any discussion.
969
00:41:19,148 --> 00:41:21,449
- She was just perfect for it.
- ♪ (MUSIC FADES) ♪
970
00:41:21,449 --> 00:41:24,854
{\an8}- ♪ (DRAMATIC MUSIC PLAYING) ♪
- (MEOWS)
971
00:41:24,854 --> 00:41:27,489
MARY: My husband thought
that it would be wise
972
00:41:27,489 --> 00:41:29,924
to form a company
that he could manage
973
00:41:29,924 --> 00:41:34,429
and that I could use as
the foundation for a commitment.
974
00:41:34,429 --> 00:41:36,431
- It was 22 episodes.
- (INDISTINCT CHATTER)
975
00:41:36,431 --> 00:41:38,434
- (INDISTINCT CHATTER
OVER SPEAKERS)
- ANNOUNCER: It was Grant Tinker
976
00:41:38,434 --> 00:41:39,867
who hired Jim Brooks
977
00:41:39,867 --> 00:41:43,672
along with Alan Burns to produce
The Mary Tyler Moore Show.
978
00:41:43,672 --> 00:41:45,273
{\an8}JAMES L. BROOKS:
Every male comedy writer
979
00:41:45,273 --> 00:41:49,244
{\an8}of that time had had a crush
on Mary Tyler Moore.
980
00:41:49,244 --> 00:41:50,980
{\an8}She was our dream girl.
981
00:41:50,980 --> 00:41:52,147
(INAUDIBLE CHATTER)
982
00:41:52,147 --> 00:41:54,583
{\an8}ALLAN BURNS: She represented
everything you wanted.
983
00:41:54,583 --> 00:41:57,552
{\an8}Her intelligence,
she gets it so quickly.
984
00:41:57,552 --> 00:42:01,023
Hardly anybody knows comedy
like she does.
985
00:42:01,023 --> 00:42:02,157
(INDISTINCT CHATTER)
986
00:42:02,157 --> 00:42:04,226
MARY: They and I had a meeting
and, you know, I said,
987
00:42:04,226 --> 00:42:07,362
"I think from my experience
on The Dick Van Dyke Show
988
00:42:07,362 --> 00:42:09,597
that it's smart for me to play
989
00:42:09,597 --> 00:42:12,935
somebody who's close
to my own persona."
990
00:42:12,935 --> 00:42:15,131
And they agreed with that
and they said,
991
00:42:15,131 --> 00:42:16,538
"Well, we're thinking maybe, uh,
992
00:42:16,538 --> 00:42:18,874
she works
in a small television station
993
00:42:18,874 --> 00:42:21,043
and that she's looking
to be married
994
00:42:21,043 --> 00:42:22,945
but she's not
desperate about it."
995
00:42:22,945 --> 00:42:24,612
And I said,
"That sounds good too.
996
00:42:24,612 --> 00:42:27,719
I like that 'cause
that's kind of progressive."
997
00:42:28,953 --> 00:42:30,619
BROOKS: We were two guys
at an office
998
00:42:30,619 --> 00:42:32,615
for a company
that hadn't happened yet,
999
00:42:32,615 --> 00:42:34,723
kicking around ideas that--
I don't think there'd been
1000
00:42:34,723 --> 00:42:36,725
a divorced woman yet
on television.
1001
00:42:36,725 --> 00:42:39,527
We went to CBS
to pitch with Grant,
1002
00:42:39,527 --> 00:42:42,764
maybe 20 executives,
the big boss there.
1003
00:42:42,764 --> 00:42:45,100
And we told him this idea
and they were polite
1004
00:42:45,100 --> 00:42:46,902
and they asked us
to step out of the room.
1005
00:42:46,902 --> 00:42:49,465
We found out later,
they told Grant to fire us.
1006
00:42:49,465 --> 00:42:51,101
They had three rules
that couldn't happen
1007
00:42:51,101 --> 00:42:52,707
on a CBS show at the time,
1008
00:42:52,707 --> 00:42:56,472
"Jews, somebody with a mustache,
or a divorced woman."
1009
00:42:56,472 --> 00:42:59,047
MARY: They had to come
head-to-head with CBS
1010
00:42:59,047 --> 00:43:02,550
over the premise
that you will be divorced,
1011
00:43:02,550 --> 00:43:04,486
and that you would be moving
to Minneapolis
1012
00:43:04,486 --> 00:43:06,654
for the first time
to start life afresh.
1013
00:43:06,654 --> 00:43:08,691
It was real
but it was not funny.
1014
00:43:08,691 --> 00:43:10,491
You couldn't make fun
of divorce.
1015
00:43:10,491 --> 00:43:12,026
And not only that, they said,
1016
00:43:12,026 --> 00:43:13,929
- they'd think you were divorced
from Dick Van Dyke!
- (SNEEZES)
1017
00:43:13,929 --> 00:43:16,765
BROOKS: Just a career woman
was unusual then.
1018
00:43:16,765 --> 00:43:18,566
She was America's sweetheart,
1019
00:43:18,566 --> 00:43:20,130
so I think
what we ended up doing,
1020
00:43:20,130 --> 00:43:22,071
is the show allowed her
1021
00:43:22,071 --> 00:43:24,506
basically to be
a contemporary woman,
1022
00:43:24,506 --> 00:43:26,074
at a time when
contemporary women
1023
00:43:26,074 --> 00:43:28,944
were speaking out, being noticed
as they never were before.
1024
00:43:28,944 --> 00:43:32,714
This inhuman system
of exploitation will change,
1025
00:43:32,714 --> 00:43:35,250
but only if we force it
to change.
1026
00:43:35,250 --> 00:43:37,252
- (INDISTINCT CHATTER)
- (TELEPHONE RINGING)
1027
00:43:37,252 --> 00:43:39,515
{\an8}TREVA SILVERMAN: So,
the phone rings and it's Jim,
1028
00:43:39,515 --> 00:43:41,991
{\an8}and he said,
"What are you doing right now?"
1029
00:43:41,991 --> 00:43:44,993
I said, "I'm just about
to wash my hair."
1030
00:43:44,993 --> 00:43:47,596
And he said, "No, no, no,
I mean in your life."
1031
00:43:47,596 --> 00:43:49,565
He said, "Because
Mary Tyler Moore's show
1032
00:43:49,565 --> 00:43:51,033
got picked up.
1033
00:43:51,033 --> 00:43:54,597
And you're the first writer
that I'm calling.
1034
00:43:54,597 --> 00:43:57,639
We would like you to write
as many as you want."
1035
00:43:57,639 --> 00:43:59,641
At that point,
I was the only woman
1036
00:43:59,641 --> 00:44:02,511
writing alone in comedy writing.
1037
00:44:02,511 --> 00:44:04,512
We were writing
what we believed in.
1038
00:44:04,512 --> 00:44:06,481
Jim and Allen believed
in it enough
1039
00:44:06,481 --> 00:44:08,183
that they pushed things through.
1040
00:44:08,183 --> 00:44:09,317
♪ (MUSIC INTENSIFIES) ♪
1041
00:44:09,317 --> 00:44:12,053
{\an8}BROOKS: This is somebody
who immediately was a soldier.
1042
00:44:12,053 --> 00:44:15,190
{\an8}She was a star of her show.
It was her company,
1043
00:44:15,190 --> 00:44:17,725
{\an8}and yet she was
in the trenches with you.
1044
00:44:17,725 --> 00:44:20,128
MARY: So, here I am
in Minneapolis, new life,
1045
00:44:20,128 --> 00:44:22,898
{\an8}new job.
Well, not a new job yet.
1046
00:44:22,898 --> 00:44:24,433
{\an8}First I had to go
on an interview
1047
00:44:24,433 --> 00:44:26,435
{\an8}at a local TV station.
1048
00:44:26,435 --> 00:44:27,936
{\an8}BILL:
I went to the first taping.
1049
00:44:27,936 --> 00:44:30,105
{\an8}I thought it was very smart.
1050
00:44:30,105 --> 00:44:32,173
{\an8}As they would say,
"It had legs."
1051
00:44:32,173 --> 00:44:33,542
{\an8}MARY: The head
of the news department
1052
00:44:33,542 --> 00:44:35,238
{\an8}seemed interested
in my experience.
1053
00:44:35,238 --> 00:44:37,647
{\an8}- How old are you?
- Thirty.
1054
00:44:37,647 --> 00:44:40,115
No hedging?
No, "How old do I look?"
1055
00:44:40,115 --> 00:44:43,119
Why hedge? (CHUCKLES)
How old do I look?
1056
00:44:43,119 --> 00:44:44,686
Thirty.
1057
00:44:44,686 --> 00:44:47,723
{\an8}When we did
the first attempted show,
1058
00:44:47,723 --> 00:44:50,225
{\an8}we made it
under awful conditions.
1059
00:44:50,225 --> 00:44:54,095
{\an8}An awful studio.
Not too many audience laughs.
1060
00:44:54,095 --> 00:44:56,131
Look, miss, just so you're not
the first person
1061
00:44:56,131 --> 00:44:57,600
I get overtime
on a job interview...
1062
00:44:57,600 --> 00:44:58,934
{\an8}BILL: The testing was not good.
1063
00:44:58,934 --> 00:45:01,836
{\an8}The network hated it
but they had committed
1064
00:45:01,836 --> 00:45:04,306
{\an8}to a season of shows.
They would've had to pay them.
1065
00:45:04,306 --> 00:45:06,041
...personal questions
that don't have a thing to do
1066
00:45:06,041 --> 00:45:07,877
with my qualifications
for this job.
1067
00:45:07,877 --> 00:45:09,744
ED ASNER: And Mary was in tears.
1068
00:45:09,744 --> 00:45:13,748
Grant's statement
to the guys was, "Fix it."
1069
00:45:13,748 --> 00:45:15,417
And the guys looked
at each other and said,
1070
00:45:15,417 --> 00:45:16,617
"What's wrong with it?"
1071
00:45:16,617 --> 00:45:19,020
BROOKS: I'm in a fog,
I'm destroyed.
1072
00:45:19,020 --> 00:45:24,820
I'm sitting at a desk just numb.
They trusted us and we bombed.
1073
00:45:24,820 --> 00:45:27,463
And then, Marge Mullen,
who was our script supervisor,
1074
00:45:27,463 --> 00:45:28,558
saved us.
1075
00:45:28,558 --> 00:45:30,099
Marge said,
"What if the kid, Beth,
1076
00:45:30,099 --> 00:45:32,802
who was in the pilot,
said how much she liked Rhoda?"
1077
00:45:32,802 --> 00:45:34,103
♪ (INSPIRING MUSIC PLAYING) ♪
1078
00:45:34,103 --> 00:45:36,404
BROOKS:
That and cutting the script
1079
00:45:36,404 --> 00:45:39,440
turned the bomb into the pilot
that people talk about.
1080
00:45:39,440 --> 00:45:44,349
♪ ("MARY TYLER MOORE SHOW"
THEME SONG PLAYING) ♪
1081
00:45:47,952 --> 00:45:53,292
♪ How will you make it
On your own ♪
1082
00:45:55,092 --> 00:45:58,226
♪ This world is awfully big ♪
1083
00:45:58,226 --> 00:46:01,624
♪ Girl, this time
You're all alone ♪
1084
00:46:01,624 --> 00:46:05,500
♪ But it's time
You started living ♪
1085
00:46:05,500 --> 00:46:09,238
♪ It's time you let someone else
Do some giving ♪
1086
00:46:09,238 --> 00:46:13,008
♪ Love is all around
No need to waste it ♪
1087
00:46:13,008 --> 00:46:17,079
♪ You can have the town
Why don't you take it? ♪
1088
00:46:17,079 --> 00:46:23,288
♪ You might just make it
After all ♪
1089
00:46:24,354 --> 00:46:31,354
♪ You might just make it
After all ♪
1090
00:46:31,595 --> 00:46:34,957
- ♪ (THEME MUSIC CONCLUDES) ♪
- ♪ (JOLLY MUSIC PLAYING) ♪
1091
00:46:34,957 --> 00:46:37,232
{\an8}ROSIE O'DONNELL: I was eight
when the first episode came on
1092
00:46:37,232 --> 00:46:39,934
{\an8}and I hadn't seen one
where a woman,
1093
00:46:39,934 --> 00:46:43,171
especially a single woman
without a man to depend on,
1094
00:46:43,171 --> 00:46:47,810
was making her own way in life.
It seared into my brain.
1095
00:46:47,810 --> 00:46:49,572
Look, miss, would you try
1096
00:46:49,572 --> 00:46:51,450
answering the questions
as I ask 'em?
1097
00:46:52,550 --> 00:46:53,716
Yes, Mr. Grant, I will.
1098
00:46:53,716 --> 00:46:55,150
But it does seem
that you've been asking
1099
00:46:55,150 --> 00:46:57,720
a lot of very personal questions
that don't have a thing to do
1100
00:46:57,720 --> 00:47:00,155
with my qualifications
for this job.
1101
00:47:00,155 --> 00:47:01,757
JULIA LOUIS-DREYFUS:
There was no other show
1102
00:47:01,757 --> 00:47:03,224
{\an8}like The Mary Tyler Moore Show.
1103
00:47:03,224 --> 00:47:07,990
{\an8}Her morphing from Laura Petrie
into Mary Richards
1104
00:47:07,990 --> 00:47:14,435
{\an8}was such a feminist statement
and one that got into my bones.
1105
00:47:14,435 --> 00:47:17,105
{\an8}KATIE COURIC:
Watching this incredible woman
1106
00:47:17,105 --> 00:47:20,475
{\an8}who was strong and funny,
and independent,
1107
00:47:20,475 --> 00:47:24,046
then gets her own apartment
with the wooden "M" on the wall.
1108
00:47:24,046 --> 00:47:26,716
- So you're, uh, Rhoda?
- Morgenstern.
1109
00:47:26,716 --> 00:47:28,283
Ah! And I'm Mary Richards.
1110
00:47:28,283 --> 00:47:31,223
Oh, hello. (CHUCKLES)
Get outta my apartment!
1111
00:47:32,523 --> 00:47:36,759
KATIE: She had funny neighbors
like Rhoda and Phyllis.
1112
00:47:36,759 --> 00:47:39,689
But Mary,
it's your duty as a woman
1113
00:47:39,689 --> 00:47:41,597
to take whatever
you could get... (SNIFFS)
1114
00:47:41,597 --> 00:47:42,998
...whether you want it or not.
1115
00:47:42,998 --> 00:47:46,134
KATIE: And a great crew
of people with whom she worked.
1116
00:47:46,134 --> 00:47:48,170
I'd tell you to stop reading
over my shoulder
1117
00:47:48,170 --> 00:47:50,409
but you need all the practice
you can get.
1118
00:47:52,076 --> 00:47:53,809
- Hi.
- You're late, Mar.
1119
00:47:53,809 --> 00:47:55,004
I know.
1120
00:47:55,004 --> 00:47:57,179
KATIE: It opened my eyes to,
"Wow, I wanna do that too."
1121
00:47:57,179 --> 00:48:00,449
A beautiful romance
just blew up in her face.
1122
00:48:00,449 --> 00:48:03,385
It did not blow up.
I made the decision.
1123
00:48:03,385 --> 00:48:04,787
♪ (SOLEMN
PENSIVE MUSIC PLAYING) ♪
1124
00:48:04,787 --> 00:48:06,388
{\an8}JULIA: It wasn't
just Mary Richards
1125
00:48:06,388 --> 00:48:12,628
{\an8}who was this extraordinarily
single ambitious career woman.
1126
00:48:12,628 --> 00:48:13,723
{\an8}She was surrounded
1127
00:48:13,723 --> 00:48:17,132
{\an8}by very strong
comedic female characters.
1128
00:48:17,132 --> 00:48:18,467
- Yeah, I--
- You're talking
1129
00:48:18,467 --> 00:48:21,536
about Midwestern love,
I'm talking about Bronx love.
1130
00:48:21,536 --> 00:48:25,340
There's a certain amount
of guilt that goes with that.
1131
00:48:25,340 --> 00:48:28,076
MARY: Part of being
a successful artist
1132
00:48:28,076 --> 00:48:31,146
is being open to new ideas
and input.
1133
00:48:31,146 --> 00:48:33,114
{\an8}TREVA:
She was a big, big supporter
1134
00:48:33,114 --> 00:48:35,450
{\an8}of what the pilot
said about her.
1135
00:48:35,450 --> 00:48:39,921
{\an8}She was on the side
of risk-taking.
1136
00:48:39,921 --> 00:48:41,490
{\an8}- Divorced?
- MARY: No.
1137
00:48:41,490 --> 00:48:42,825
{\an8}- Never married.
- No.
1138
00:48:42,825 --> 00:48:44,427
{\an8}- ED: Why?
- Why?
1139
00:48:44,427 --> 00:48:46,161
Hmm. Your type?
1140
00:48:46,161 --> 00:48:49,498
Mr. Grant, there's no
simple answer to that question.
1141
00:48:49,498 --> 00:48:52,367
{\an8}MARY: There had been some shows
about single women before
1142
00:48:52,367 --> 00:48:55,303
but as in the case
of The Marlo Thomas Show,
1143
00:48:55,303 --> 00:48:57,405
boy, it was
about getting married,
1144
00:48:57,405 --> 00:48:59,474
and Jim and Allen
didn't wanna do that.
1145
00:48:59,474 --> 00:49:02,878
They wanted to show a woman
enjoying her life and her career
1146
00:49:02,878 --> 00:49:04,349
and meeting these challenges.
1147
00:49:05,515 --> 00:49:07,415
BROOKS: They each
had a great backbone.
1148
00:49:07,415 --> 00:49:09,151
{\an8}- (DOORBELL BUZZES)
- BROOKS: The character and Mary
1149
00:49:09,151 --> 00:49:11,452
{\an8}had a great backbone
that was real.
1150
00:49:11,452 --> 00:49:13,188
{\an8}You know,
that kind of substance,
1151
00:49:13,188 --> 00:49:14,923
intrinsic dignity of being
1152
00:49:14,923 --> 00:49:17,026
and of other people's dignity
of being.
1153
00:49:17,026 --> 00:49:19,561
So, in a way,
you're describing class.
1154
00:49:19,561 --> 00:49:23,468
Uh. Mary, Uh, uh. Did--
Did you just say goodbye?
1155
00:49:25,670 --> 00:49:26,568
Uh-huh.
1156
00:49:26,568 --> 00:49:29,008
(CHUCKLES)
That's what I thought you said.
1157
00:49:30,775 --> 00:49:32,641
Take... take care of yourself.
1158
00:49:32,641 --> 00:49:35,210
- ♪ (MUSIC CONCLUDES) ♪
- I think I just did.
1159
00:49:35,210 --> 00:49:36,445
♪ (QUIRKY MUSIC PLAYING) ♪
1160
00:49:36,445 --> 00:49:37,846
RONA:
You were kind of locked up.
1161
00:49:37,846 --> 00:49:43,084
I mean, I say locked up in that
that the image on the screen
1162
00:49:43,084 --> 00:49:46,922
in the series, certainly
never matched the real Mary.
1163
00:49:46,922 --> 00:49:50,595
That's right. Right.
I was never single.
1164
00:49:51,563 --> 00:49:54,129
Mary Richards. Hmm.
1165
00:49:54,129 --> 00:49:56,732
It is still Richards, isn't it?
1166
00:49:56,732 --> 00:50:00,305
Uh. Yes.
It's, uh, still Mary too.
1167
00:50:01,867 --> 00:50:04,173
So, you've never been married,
Mary?
1168
00:50:04,173 --> 00:50:06,074
- No, Estelle, I haven't.
- Hmm.
1169
00:50:06,074 --> 00:50:07,409
I've been married twice.
1170
00:50:07,409 --> 00:50:09,714
She liked it so much
the first time.
1171
00:50:12,049 --> 00:50:13,482
I think you can look
at a show like ours
1172
00:50:13,482 --> 00:50:15,918
and look at some
of the relationships
1173
00:50:15,918 --> 00:50:19,458
and say to yourself
after you've laughed...
1174
00:50:20,691 --> 00:50:23,726
"Son of a gun.
That happened to me once."
1175
00:50:23,726 --> 00:50:24,960
♪ (LIGHTHEARTED MUSIC PLAYING) ♪
1176
00:50:24,960 --> 00:50:26,696
{\an8}BROOKS: There's no way
we can deal
1177
00:50:26,696 --> 00:50:29,097
{\an8}with how humbling luck is.
1178
00:50:29,097 --> 00:50:30,633
{\an8}- They programmed us...
- (MARY YELPS)
1179
00:50:30,633 --> 00:50:31,833
{\an8}...in a death time slot
1180
00:50:31,833 --> 00:50:35,637
because whoever was in charge
of CBS then, didn't like us.
1181
00:50:35,637 --> 00:50:38,006
Where we were in mourning
when we learned about it,
1182
00:50:38,006 --> 00:50:39,508
it meant they were eating us up.
1183
00:50:39,508 --> 00:50:41,476
They were just
throwing away the shows.
1184
00:50:41,476 --> 00:50:43,912
{\an8}The president of the company,
the businessman,
1185
00:50:43,912 --> 00:50:45,815
{\an8}he was promoted
from head of sales
1186
00:50:45,815 --> 00:50:47,750
to head of the network.
1187
00:50:47,750 --> 00:50:48,884
First thing he did
1188
00:50:48,884 --> 00:50:51,020
was all those
situation comedy shows
1189
00:50:51,020 --> 00:50:53,055
that had ruled the airways, canceled,
1190
00:50:53,055 --> 00:50:55,323
lots of top ten shows.
1191
00:50:55,323 --> 00:50:57,826
And then he put
All in the Family on the air
1192
00:50:57,826 --> 00:51:01,329
and gave us the best time period
he had and saved us.
1193
00:51:01,329 --> 00:51:02,630
♪ (MUSIC CONCLUDES) ♪
1194
00:51:02,630 --> 00:51:05,033
Hi, I'm Mary Tyler Moore
and I just want you to know
1195
00:51:05,033 --> 00:51:06,101
that starting this fall,
1196
00:51:06,101 --> 00:51:07,936
Bob Newhart and I
will be back-to-back
1197
00:51:07,936 --> 00:51:09,471
every Saturday night on CBS.
1198
00:51:09,471 --> 00:51:11,807
Why do you fight it?
The world's changing.
1199
00:51:11,807 --> 00:51:13,074
{\an8}ROB: They were on the same night
1200
00:51:13,074 --> 00:51:14,309
{\an8}we were on for
All in the Family.
1201
00:51:14,309 --> 00:51:16,711
It was M*A*S*H.
And then Bob Newhart
1202
00:51:16,711 --> 00:51:18,647
and Mary Tyler Moore,
and then Carol Barnett,
1203
00:51:18,647 --> 00:51:19,943
we had a great lineup.
1204
00:51:19,943 --> 00:51:22,017
{\an8}ROSIE: You had to wait
until it was on.
1205
00:51:22,017 --> 00:51:23,051
{\an8}(CHUCKLES) Y'know?
1206
00:51:23,051 --> 00:51:25,287
{\an8}And if you missed it,
you missed it.
1207
00:51:25,287 --> 00:51:27,589
{\an8}- It was appointment TV for me.
- ♪ (GENTLE MUSIC PLAYING) ♪
1208
00:51:27,589 --> 00:51:31,160
{\an8}RONDA RICH TINKER: I would lie
on the floor, on my stomach
1209
00:51:31,160 --> 00:51:32,660
{\an8}right in front of the TV.
1210
00:51:32,660 --> 00:51:34,930
{\an8}DEBRA MARTIN CHASE:
My mother and I would watch
1211
00:51:34,930 --> 00:51:36,164
{\an8}Mary Tyler Moore together.
1212
00:51:36,164 --> 00:51:37,832
{\an8}DEBRA: Mary spoke to all of us.
1213
00:51:37,832 --> 00:51:42,570
Women could be independent,
could have careers,
1214
00:51:42,570 --> 00:51:44,540
could stand
on their own two feet
1215
00:51:44,540 --> 00:51:45,741
without a man.
1216
00:51:45,741 --> 00:51:47,442
(INDISTINCT CHATTER)
1217
00:51:47,442 --> 00:51:51,647
{\an8}KATIE: I just remember
it being part of my routine
1218
00:51:51,647 --> 00:51:53,481
{\an8}on the weekends.
1219
00:51:53,481 --> 00:51:57,285
BROOKS: We had an audience
right away and we kept it.
1220
00:51:57,285 --> 00:52:01,056
{\an8}And that was when everybody
stayed home and watched.
1221
00:52:01,056 --> 00:52:02,457
{\an8}Grant Tinker used to say,
1222
00:52:02,457 --> 00:52:04,159
{\an8}"You could fly across
the United States,
1223
00:52:04,159 --> 00:52:06,094
jump out of a plane
and very likely land
1224
00:52:06,094 --> 00:52:08,730
on somebody watching your show."
1225
00:52:08,730 --> 00:52:13,435
{\an8}JOEL GREY: If you transcend
all of the expectations,
1226
00:52:13,435 --> 00:52:14,902
{\an8}- changes everything.
- (INDISTINCT CHATTER)
1227
00:52:14,902 --> 00:52:21,209
JOEL: I'm sure her expectations
of her life changed after that,
1228
00:52:21,209 --> 00:52:25,480
as did everyone else's
expectations of her.
1229
00:52:25,480 --> 00:52:26,714
- I need to get ready.
- Yeah, I hope.
1230
00:52:26,714 --> 00:52:29,151
- Boy, I hate those meetings.
- You never used to.
1231
00:52:29,151 --> 00:52:31,586
Yeah, well, it used to be I felt
I could be myself.
1232
00:52:31,586 --> 00:52:35,556
Now, I feel
I represent women everywhere.
1233
00:52:35,556 --> 00:52:39,427
{\an8}JOHN: Mary was so stellar
at being that center
1234
00:52:39,427 --> 00:52:41,096
{\an8}that held everything together.
1235
00:52:41,096 --> 00:52:43,699
{\an8}And she always wanted her folks
to be proud.
1236
00:52:43,699 --> 00:52:44,967
{\an8}They weren't effusive.
1237
00:52:44,967 --> 00:52:46,601
{\an8}I've often wondered
how much time
1238
00:52:46,601 --> 00:52:50,005
{\an8}was spent with Mary in her mind,
with her folks.
1239
00:52:50,005 --> 00:52:52,640
♪ (MUSIC CONCLUDES) ♪
1240
00:52:52,640 --> 00:52:54,777
MARY: (OVER MIC) Would you all
like to meet the producers
1241
00:52:54,777 --> 00:52:55,939
of Mary Tyler Moore?
1242
00:52:55,939 --> 00:52:59,280
- My mom and dad.
- (AUDIENCE APPLAUDING)
1243
00:52:59,280 --> 00:53:01,044
MARY: (OVER MIC)
And February 14th,
1244
00:53:01,044 --> 00:53:03,351
they're celebrating
their 50th anniversary.
1245
00:53:03,351 --> 00:53:06,291
(AUDIENCE APPLAUDING, CHEERING)
1246
00:53:08,892 --> 00:53:12,192
So, what's the secret
of 50 years, Mom and Dad?
1247
00:53:13,297 --> 00:53:15,763
(AUDIENCE LAUGHING, APPLAUDING)
1248
00:53:15,763 --> 00:53:18,233
- Lots of love and respect.
- MARY: (OVER MIC) That's right.
1249
00:53:18,233 --> 00:53:19,534
I go along with that.
1250
00:53:19,534 --> 00:53:21,603
MARY: (OVER MIC) Okay, why not?
That's a smart way.
1251
00:53:21,603 --> 00:53:22,737
BETTY WHITE:
You probably remember
1252
00:53:22,737 --> 00:53:25,273
seeing this great cover
on TV Guide.
1253
00:53:25,273 --> 00:53:27,943
{\an8}Well, right now, right here,
on The Pet Set,
1254
00:53:27,943 --> 00:53:31,579
{\an8}we have this very star
as our very special guest.
1255
00:53:31,579 --> 00:53:33,982
{\an8}I'd like you
to meet Dis William. (CHUCKLES)
1256
00:53:33,982 --> 00:53:36,417
Oh, and he brought a girl
with him, Mary Tyler Moore.
1257
00:53:36,417 --> 00:53:37,814
- (LAUGHS)
- Hello there. (CHUCKLES)
1258
00:53:37,814 --> 00:53:40,255
- Hi.
- (AUDIENCE APPLAUDING)
1259
00:53:40,255 --> 00:53:42,591
I noticed on the set of,
of course,
1260
00:53:42,591 --> 00:53:45,093
The Mary Tyler Moore Show,
very prominently displayed
1261
00:53:45,093 --> 00:53:46,762
on the set is a picture
of these two.
1262
00:53:46,762 --> 00:53:48,396
- Is that for luck?
- Yeah, it's for luck.
1263
00:53:48,396 --> 00:53:49,698
And also
because the prop man said,
1264
00:53:49,698 --> 00:53:52,067
"Do you have any pictures
of anybody in your family
1265
00:53:52,067 --> 00:53:53,234
you'd like to have on the show?
1266
00:53:53,234 --> 00:53:54,802
The set needs
a little warming up." (CHUCKLES)
1267
00:53:54,802 --> 00:53:56,838
- (BETTY CHUCKLES)
- And I don't know
why I brought in pictures
1268
00:53:56,838 --> 00:53:59,409
of the poodles
instead of my mother or father.
1269
00:53:59,409 --> 00:54:00,575
Ow. (CLICKS TONGUE)
1270
00:54:00,575 --> 00:54:03,745
{\an8}- What happened?
- Nothing, I just cut myself.
1271
00:54:03,745 --> 00:54:05,546
{\an8}It's okay. It's just a...
it's just a tiny one.
1272
00:54:05,546 --> 00:54:07,082
- Come on, let me look at it.
- No.
1273
00:54:07,082 --> 00:54:09,584
- ♪ (SOMBER MUSIC PLAYING) ♪
- When you were a little girl,
1274
00:54:09,584 --> 00:54:11,420
you wouldn't let me look
when you cut yourself.
1275
00:54:11,420 --> 00:54:13,288
I was always afraid
you'd stitch it up.
1276
00:54:13,288 --> 00:54:16,458
{\an8}JOHN: There was a scene
where her father
1277
00:54:16,458 --> 00:54:18,593
{\an8}tells her how much
he cares for her.
1278
00:54:18,593 --> 00:54:20,728
Mary just wanted
to get it right.
1279
00:54:20,728 --> 00:54:24,561
You don't cry when you...
cut your finger anymore?
1280
00:54:24,561 --> 00:54:25,737
No. (SCOFFS)
1281
00:54:27,404 --> 00:54:28,840
What does make you cry?
1282
00:54:30,274 --> 00:54:33,374
Oh, mostly dumb things.
(CHUCKLES)
1283
00:54:33,374 --> 00:54:34,943
JOHN:
And I remember being there
1284
00:54:34,943 --> 00:54:37,513
and I don't know that
that was very easy for her.
1285
00:54:37,513 --> 00:54:39,181
I keep a few in here.
1286
00:54:39,181 --> 00:54:41,150
JOHN: That scene
even then moved me
1287
00:54:41,150 --> 00:54:42,717
because when her folks
would come over
1288
00:54:42,717 --> 00:54:46,654
on the rare occasion for dinner,
it was always a little,
1289
00:54:46,654 --> 00:54:48,791
you're just waiting
for something to happen.
1290
00:54:48,791 --> 00:54:51,291
Something that would
light the fuse.
1291
00:54:52,231 --> 00:54:53,465
Mary...
1292
00:54:55,266 --> 00:54:56,535
are you ever lonely?
1293
00:54:58,502 --> 00:55:00,439
No. Not too often, Daddy.
1294
00:55:01,539 --> 00:55:02,874
I have a good life.
1295
00:55:03,408 --> 00:55:04,576
I'm glad...
1296
00:55:06,177 --> 00:55:08,480
because... (SIGHS)
1297
00:55:09,513 --> 00:55:11,650
...I'm sorry
about your graduation,
1298
00:55:12,517 --> 00:55:14,353
anything else I missed.
1299
00:55:16,287 --> 00:55:17,556
I love you, baby.
1300
00:55:20,690 --> 00:55:25,530
(SNIFFS) Well, it isn't always
dumb things that make me cry.
1301
00:55:27,932 --> 00:55:29,425
(SIGHS) There. That...
1302
00:55:29,425 --> 00:55:33,201
That should be all right.
Careful how you handle knives.
1303
00:55:33,201 --> 00:55:34,537
♪ (MUSIC CONCLUDES) ♪
1304
00:55:34,537 --> 00:55:36,933
- Hey, Daddy? (SNIFFLES)
- Mm-hmm?
1305
00:55:36,933 --> 00:55:38,907
You bandaged the wrong finger.
1306
00:55:38,907 --> 00:55:41,676
- (CHUCKLES)
- ♪ (DRAMATIC MUSIC PLAYING) ♪
1307
00:55:41,676 --> 00:55:43,378
INTERVIEWER: Why do you think
it's such a winner,
1308
00:55:43,378 --> 00:55:45,746
The Mary Tyler Moore Show?
1309
00:55:45,746 --> 00:55:49,417
I think because of the casting,
primarily me.
1310
00:55:49,417 --> 00:55:50,886
- No. (CHUCKLES)
- (INTERVIEWER LAUGHS)
1311
00:55:50,886 --> 00:55:54,256
No, but it really
is an extraordinary cast.
1312
00:55:54,256 --> 00:55:56,028
And I think
because of the writing.
1313
00:55:58,262 --> 00:55:59,494
{\an8}SUSAN SILVER:
The Mary Tyler Moore Show
1314
00:55:59,494 --> 00:56:01,496
{\an8}hired the most women
of any show.
1315
00:56:01,496 --> 00:56:05,733
{\an8}And it changed
the language of television.
1316
00:56:05,733 --> 00:56:08,504
{\an8}TREVA: It was wonderful
of Jim and Allen.
1317
00:56:08,504 --> 00:56:09,737
{\an8}They really wanted to...
1318
00:56:09,737 --> 00:56:11,974
{\an8}(CHUCKLES) ...get it
from the horse's mouth.
1319
00:56:11,974 --> 00:56:13,575
BROOKS: It didn't seem
like we were having
1320
00:56:13,575 --> 00:56:15,405
{\an8}a eureka moment when we said,
1321
00:56:15,405 --> 00:56:18,146
{\an8}(CHUCKLES) "Women would be good
to write on this show
1322
00:56:18,146 --> 00:56:19,581
about these women."
1323
00:56:19,581 --> 00:56:22,952
Totally logical thought pattern.
It was the right thing to do.
1324
00:56:22,952 --> 00:56:23,919
(INDISTINCT CHATTER)
1325
00:56:23,919 --> 00:56:25,988
MARY: Jim said,
"I can write a lot of stuff.
1326
00:56:25,988 --> 00:56:27,622
I'm very seldom stumped
1327
00:56:27,622 --> 00:56:30,425
but you've got stuff
in your purse
1328
00:56:30,425 --> 00:56:32,594
that I don't know anything about
1329
00:56:32,594 --> 00:56:35,296
and that's what I want you
to empty out for me.
1330
00:56:35,296 --> 00:56:37,599
I wanna know what women know."
1331
00:56:37,599 --> 00:56:39,334
{\an8}SUSAN: And I said,
I was the last person
1332
00:56:39,334 --> 00:56:40,503
{\an8}to get a bra. I love it.
1333
00:56:40,503 --> 00:56:41,803
{\an8}I'm not burning it
1334
00:56:41,803 --> 00:56:43,972
{\an8}but I will make
a contribution to feminism
1335
00:56:43,972 --> 00:56:46,341
{\an8}by having my own career
and being a feminist,
1336
00:56:46,341 --> 00:56:48,710
but not by marching.
1337
00:56:48,710 --> 00:56:51,479
Women speak differently,
and we have different ideas
1338
00:56:51,479 --> 00:56:52,881
and we have different stories.
1339
00:56:52,881 --> 00:56:56,318
I'm sure a man has never had
to wear a bad bridesmaid dress.
1340
00:56:56,318 --> 00:56:59,058
- Mary.
- MARY: Yeah?
1341
00:57:00,920 --> 00:57:02,624
Oh, it's bad, huh?
1342
00:57:02,624 --> 00:57:05,730
Well, come on out, kid.
How bad could it be?
1343
00:57:13,505 --> 00:57:14,839
That bad, huh?
1344
00:57:16,374 --> 00:57:19,475
I'd say, uh,
about the only thing worse
1345
00:57:19,475 --> 00:57:21,076
than this dress...
1346
00:57:21,076 --> 00:57:24,746
- would be this dress in purple.
- In purple.
1347
00:57:24,746 --> 00:57:26,447
{\an8}SUSAN:
Mary Tyler Moore was real.
1348
00:57:26,447 --> 00:57:27,682
{\an8}And it was the way real women
1349
00:57:27,682 --> 00:57:29,551
{\an8}talked to their parents
and their dates,
1350
00:57:29,551 --> 00:57:32,754
{\an8}and their girlfriends,
and Mary was the example.
1351
00:57:32,754 --> 00:57:35,190
A Chicago guy had written
an article saying,
1352
00:57:35,190 --> 00:57:37,793
"Mary doesn't have enough sex."
So I went in, and I said,
1353
00:57:37,793 --> 00:57:40,128
"I have a show
where she can have sex."
1354
00:57:40,128 --> 00:57:41,862
- MARY: Rhoda?
- What?
1355
00:57:41,862 --> 00:57:45,067
- Do you think I'm under-sexed?
- (SIGHS) I hope so.
1356
00:57:45,067 --> 00:57:46,501
Really. I'd like to think
1357
00:57:46,501 --> 00:57:48,540
there's one thing I'm better at
than you are.
1358
00:57:49,606 --> 00:57:51,073
SUSAN: All those things
we were learning
1359
00:57:51,073 --> 00:57:52,741
were okay to talk about
1360
00:57:52,741 --> 00:57:54,775
and to do at the same time
that the show did them.
1361
00:57:54,775 --> 00:57:57,579
But it changed the way
women saw themselves.
1362
00:57:57,579 --> 00:58:00,148
- Have a nice time, you two.
- You too, Mom.
1363
00:58:00,148 --> 00:58:01,517
Don't forget to take your pill.
1364
00:58:01,517 --> 00:58:02,821
- I won't.
- I won't.
1365
00:58:06,891 --> 00:58:08,256
{\an8}BROOKS: It was a throwaway joke
1366
00:58:08,256 --> 00:58:12,060
{\an8}and... (CHUCKLES) ...it was racy
at the time and it was huge.
1367
00:58:12,060 --> 00:58:13,662
{\an8}I call it creeping smut.
1368
00:58:13,662 --> 00:58:16,364
{\an8}I see it everywhere,
in bookstores, in movies,
1369
00:58:16,364 --> 00:58:17,966
{\an8}in libraries,
and now in television.
1370
00:58:17,966 --> 00:58:18,834
Look what happened
1371
00:58:18,834 --> 00:58:20,169
on The Mary Tyler Moore Show recently.
1372
00:58:20,169 --> 00:58:23,405
She went out on a date
and she stayed out all night.
1373
00:58:23,405 --> 00:58:26,576
BEA ARTHUR: All night?
Our little Mary?
1374
00:58:26,576 --> 00:58:28,610
♪ (MUSIC FADES) ♪
1375
00:58:28,610 --> 00:58:30,145
You can sneer
if you want, Maude.
1376
00:58:30,145 --> 00:58:31,080
But let me tell you this,
1377
00:58:31,080 --> 00:58:33,818
as Mary Tyler Moore goes,
so goes America.
1378
00:58:34,718 --> 00:58:36,956
Look, I'm not sure
if this fits right.
1379
00:58:38,956 --> 00:58:40,823
{\an8}NORMAN LEAR:
Mary Tyler Moore for television
1380
00:58:40,823 --> 00:58:43,891
{\an8}represented America
at that moment
1381
00:58:43,891 --> 00:58:48,596
{\an8}in that fresh release
from the ancient womanhood.
1382
00:58:48,596 --> 00:58:51,299
In a landmark ruling,
the Supreme Court today,
1383
00:58:51,299 --> 00:58:53,569
- legalized abortions.
- ♪ (UPLIFTING MUSIC PLAYING) ♪
1384
00:58:53,569 --> 00:58:55,870
- Murray, your marriage?
- Mary,
1385
00:58:55,870 --> 00:59:00,042
you know I love Marie.
Marie is not Gloria Steinem.
1386
00:59:00,042 --> 00:59:03,212
Well, what's this
"Gloria Steinem" thing you have?
1387
00:59:03,212 --> 00:59:05,880
I mean, you take away
Gloria Steinem's super intellect
1388
00:59:05,880 --> 00:59:09,154
and what do you got? (CHUCKLES)
Never mind, bad example.
1389
00:59:10,354 --> 00:59:12,320
(HELICOPTER BLADES WHIRRING)
1390
00:59:12,320 --> 00:59:13,656
{\an8}BROOKS: I was asked to speak
1391
00:59:13,656 --> 00:59:15,590
{\an8}to Lady Bird Johnson's
1392
00:59:15,590 --> 00:59:17,725
{\an8}- conference of women...
- (BIRDS CHIRPING)
1393
00:59:17,725 --> 00:59:21,563
...and it was a theater
holding 1200 people, all women.
1394
00:59:21,563 --> 00:59:24,900
And Gloria Steinem
spoke just before me,
1395
00:59:24,900 --> 00:59:26,901
and derided
The Mary Tyler Moore Show
1396
00:59:26,901 --> 00:59:28,937
- and that we're anti-feminist.
- (INDISTINCT CHATTER)
1397
00:59:28,937 --> 00:59:30,739
{\an8}GLORIA: The question is,
"Why does Mary Tyler Moore
1398
00:59:30,739 --> 00:59:32,941
{\an8}still call Mr. Grant,
'Mr. Grant?'"
1399
00:59:32,941 --> 00:59:35,277
BROOKS: This comes up
every once in a while...
1400
00:59:35,277 --> 00:59:36,578
GLORIA: (LAUGHS) Oh, yeah?
1401
00:59:36,578 --> 00:59:38,446
...and it just...
it just seems right.
1402
00:59:38,446 --> 00:59:40,448
We talk about doing a show--
1403
00:59:40,448 --> 00:59:41,950
- (CROWD BOOING)
- BROOKS: No, no.
1404
00:59:41,950 --> 00:59:43,618
And they booed me. (CHUCKLES)
1405
00:59:43,618 --> 00:59:47,156
(GLORIA LAUGHS,
SPEAKS INDISTINCTLY)
1406
00:59:47,156 --> 00:59:49,390
BROOKS: Just based
on what seems right to us
1407
00:59:49,390 --> 00:59:50,893
about the character's behavior.
1408
00:59:50,893 --> 00:59:52,727
- Mr. Grant, you should--
- Now, it won't work
1409
00:59:52,727 --> 00:59:55,667
if you're calling me
"Mr. Grant." Call me "Lou."
1410
00:59:56,933 --> 01:00:00,063
Well, wait, uh, would that be
for, uh... just for the purpose
1411
01:00:00,063 --> 01:00:01,937
of this conversation?
1412
01:00:01,937 --> 01:00:03,875
We, uh... for,
you know, all time?
1413
01:00:05,544 --> 01:00:06,711
I'll decide later.
1414
01:00:08,446 --> 01:00:14,015
- You think you can, Mary?
- Call you not Mr. Grant? Sure.
1415
01:00:14,015 --> 01:00:18,690
- Well, I'm glad it's okay.
- Oh, yes, it's okay to say it.
1416
01:00:20,992 --> 01:00:25,364
- Really, Mary?
- Really, Lou.
1417
01:00:27,431 --> 01:00:29,364
♪ (MELODIOUS MUSIC PLAYING) ♪
1418
01:00:29,364 --> 01:00:33,034
- Call me Mr. Grant.
- Thank you.
1419
01:00:33,034 --> 01:00:35,604
{\an8}Was there some talk one time
about the Mary Tyler Moore Show
1420
01:00:35,604 --> 01:00:37,906
{\an8}being anti-women's lib or...
1421
01:00:37,906 --> 01:00:39,741
- or too pro-women's lib...
- Oh, well, it depends...
1422
01:00:39,741 --> 01:00:41,404
- ...or something.
- ...on where you're sitting.
1423
01:00:41,404 --> 01:00:42,844
{\an8}I... I don't think
it's anti at all.
1424
01:00:42,844 --> 01:00:45,881
{\an8}I think there are two ladies,
living by themselves, working.
1425
01:00:45,881 --> 01:00:48,378
{\an8}Very-- As realistically
as you can get
1426
01:00:48,378 --> 01:00:49,612
on a television series
at the time.
1427
01:00:49,612 --> 01:00:51,086
But the viewers see it
in those terms sometimes.
1428
01:00:51,086 --> 01:00:54,556
Sh-- Oh, yeah,
you see what you feel, you know?
1429
01:00:54,556 --> 01:00:55,657
But do you ever find yourself
1430
01:00:55,657 --> 01:00:57,726
pandering to the people
who are your fans
1431
01:00:57,726 --> 01:00:59,255
so that you can keep them
your fans?
1432
01:00:59,255 --> 01:01:00,595
- No.
- INTERVIEWER: Anyway...
1433
01:01:00,595 --> 01:01:02,664
- No, not at all.
- ...in any way? Get around?
1434
01:01:02,664 --> 01:01:05,167
See, there is a perfectly
logical explanation
1435
01:01:05,167 --> 01:01:06,001
for what you heard.
1436
01:01:06,001 --> 01:01:08,007
Oh, really, Mary?
And what is it?
1437
01:01:09,740 --> 01:01:11,272
We were having an orgy.
1438
01:01:11,272 --> 01:01:13,536
{\an8}JIM: If you wanna do a show
on network television,
1439
01:01:13,536 --> 01:01:16,178
{\an8}you have to appeal
to the whole country.
1440
01:01:16,178 --> 01:01:19,747
{\an8}You had to appease
40 million people.
1441
01:01:19,747 --> 01:01:23,984
- (INDISTINCT CHATTER)
- (CAMERA SHUTTER CLICKING)
1442
01:01:23,984 --> 01:01:28,156
{\an8}RONDA: Mary was what I like
to call a feminine feminist.
1443
01:01:28,156 --> 01:01:32,927
{\an8}I know she didn't like
to call herself a feminist.
1444
01:01:32,927 --> 01:01:36,264
{\an8}BEVERLY: She didn't think
feminism was so hotsy-totsy.
1445
01:01:36,264 --> 01:01:39,201
{\an8}There were women
that just didn't like it.
1446
01:01:39,201 --> 01:01:42,204
She identified with it
up to a point.
1447
01:01:42,204 --> 01:01:46,308
RONDA: She loved the spoils
of femininity.
1448
01:01:46,308 --> 01:01:50,911
She loved the clothes, the hair
and the makeup,
1449
01:01:50,911 --> 01:01:55,551
and she loved to take that
and dress up how tough she was.
1450
01:01:55,551 --> 01:01:57,252
It was a good costume for her.
1451
01:01:57,252 --> 01:01:59,955
{\an8}BEVERLY: One day I said,
"You are a woman's libber.
1452
01:01:59,955 --> 01:02:01,824
{\an8}You have your own show.
1453
01:02:01,824 --> 01:02:05,227
{\an8}You have a child
and you were divorced.
1454
01:02:05,227 --> 01:02:08,464
You have set the standard
for a woman
1455
01:02:08,464 --> 01:02:10,966
to be on her own."
1456
01:02:10,966 --> 01:02:13,502
{\an8}JIM: She was aloof.
She was reserved.
1457
01:02:13,502 --> 01:02:14,970
{\an8}She had an incredible veneer.
1458
01:02:14,970 --> 01:02:18,777
{\an8}I only saw power from her.
I didn't see underneath.
1459
01:02:19,643 --> 01:02:22,310
{\an8}JOHN:
Mary was either fully engaged
1460
01:02:22,310 --> 01:02:26,782
{\an8}in the activity around her
and giving you her attention
1461
01:02:26,782 --> 01:02:29,852
or she was completely disengaged,
1462
01:02:29,852 --> 01:02:33,255
virtually in thought
all the time.
1463
01:02:33,255 --> 01:02:35,623
BEVERLY:
She always wanted to be better.
1464
01:02:35,623 --> 01:02:38,727
{\an8}She always wanted
to be different.
1465
01:02:38,727 --> 01:02:40,328
{\an8}I just thought she was marvelous
1466
01:02:40,328 --> 01:02:42,297
and every time
she would be insecure and say,
1467
01:02:42,297 --> 01:02:45,901
"I'm so worried. I mean,
I have to be really good."
1468
01:02:45,901 --> 01:02:48,504
The Sunday show,
Mary Richards, producer.
1469
01:02:48,504 --> 01:02:50,071
{\an8}(AUDIENCE APPLAUDS, CHEERS)
1470
01:02:50,071 --> 01:02:52,975
{\an8}BEVERLY: Who was Mary
really in real life?
1471
01:02:52,975 --> 01:02:56,348
She was insecure
about buying lipstick.
1472
01:02:57,749 --> 01:02:59,181
(AUDIENCE LAUGHING)
1473
01:02:59,181 --> 01:03:02,618
I usually look
so much better than this.
1474
01:03:02,618 --> 01:03:04,123
(AUDIENCE LAUGHING)
1475
01:03:06,323 --> 01:03:09,090
{\an8}JOHN: I have this image
of Mary walking.
1476
01:03:09,090 --> 01:03:11,559
{\an8}It's evident in the main title
of her show.
1477
01:03:11,559 --> 01:03:15,364
{\an8}She looks proud and almost regal
and she wasn't that way at all.
1478
01:03:15,364 --> 01:03:17,999
{\an8}It just was
how she carried herself.
1479
01:03:17,999 --> 01:03:20,535
{\an8}ED: There's the actress Mary
1480
01:03:20,535 --> 01:03:24,773
{\an8}who was the best civilian
in charge I've ever seen.
1481
01:03:24,773 --> 01:03:26,607
{\an8}She was cold-blooded in her way.
1482
01:03:26,607 --> 01:03:30,582
And there's the character Mary
who was an adorable doll.
1483
01:03:32,550 --> 01:03:35,084
There's not a great deal
of control in acting.
1484
01:03:35,084 --> 01:03:36,686
RONA: Did you have
a lot of control over
1485
01:03:36,686 --> 01:03:37,953
MTM Enterprises?
1486
01:03:37,953 --> 01:03:39,855
No, I was never
involved in that.
1487
01:03:39,855 --> 01:03:41,424
- Nor am I.
- RONA: It just bore your name?
1488
01:03:41,424 --> 01:03:42,557
Yes.
1489
01:03:42,557 --> 01:03:45,928
{\an8}JIM: MTM is Mary's company.
People don't realize that.
1490
01:03:45,928 --> 01:03:48,330
{\an8}(SPEAKS INDISTINCTLY)
That's all, folks.
1491
01:03:48,330 --> 01:03:50,732
{\an8}JOHN: The portrait
that hangs in Mary's house,
1492
01:03:50,732 --> 01:03:52,835
{\an8}that was in my father's office.
1493
01:03:52,835 --> 01:03:55,003
{\an8}It was always clear
who the boss was.
1494
01:03:55,003 --> 01:03:57,438
She was of course
the figurehead.
1495
01:03:57,438 --> 01:04:00,308
But running the day-to-day,
my father was always
1496
01:04:00,308 --> 01:04:02,877
at his post,
as he would call it.
1497
01:04:02,877 --> 01:04:05,975
At that desk was the happiest
I'd ever seen him.
1498
01:04:05,975 --> 01:04:09,685
That was his business to run.
And she was fine with that.
1499
01:04:09,685 --> 01:04:11,286
If Grant had come to me
and asked
1500
01:04:11,286 --> 01:04:14,523
my feelings about something
opinion of, people or script,
1501
01:04:14,523 --> 01:04:15,724
I would certainly give them.
1502
01:04:15,724 --> 01:04:18,754
JOHN: While they may have
talked about it, I don't know
1503
01:04:18,754 --> 01:04:21,329
how much he would've
solicited her advice.
1504
01:04:21,329 --> 01:04:24,066
I think they had lanes
in which they both stayed,
1505
01:04:24,066 --> 01:04:25,337
{\an8}and it worked out well.
1506
01:04:27,204 --> 01:04:31,106
{\an8}The lead actress of the year
in a series is...
1507
01:04:31,106 --> 01:04:34,413
- Mary Tyler Moore.
- (AUDIENCE CHEERS, APPLAUDS)
1508
01:04:35,113 --> 01:04:36,311
JOAN: I never saw Mary
1509
01:04:36,311 --> 01:04:39,014
{\an8}actively involved
in the business side of MTM,
1510
01:04:39,014 --> 01:04:41,784
{\an8}but there was no question
the company reflected
1511
01:04:41,784 --> 01:04:43,852
{\an8}her sensibilities.
1512
01:04:43,852 --> 01:04:45,921
Mary was very instrumental,
1513
01:04:45,921 --> 01:04:48,651
certainly in setting
the tone on set.
1514
01:04:48,651 --> 01:04:50,159
RONA: Looking back,
do you regret
1515
01:04:50,159 --> 01:04:53,562
that you didn't put
your own imprimatur on things?
1516
01:04:53,562 --> 01:04:56,564
MARY: No. You know, one can be
guilty about the things
1517
01:04:56,564 --> 01:05:00,302
one has never done in life.
I try not to do that.
1518
01:05:00,302 --> 01:05:02,570
Sure. that would be nice
were I an entrepreneur
1519
01:05:02,570 --> 01:05:05,541
and I had been involved
in that aspect of our business
1520
01:05:05,541 --> 01:05:07,242
but it has never interested me.
1521
01:05:07,242 --> 01:05:10,112
And nor has directing
or producing.
1522
01:05:10,112 --> 01:05:14,586
And I really love acting
and that's all I want to do.
1523
01:05:15,519 --> 01:05:17,719
JAMES: MTM became
a large company
1524
01:05:17,719 --> 01:05:19,387
with a lot of shows on the air
1525
01:05:19,387 --> 01:05:21,456
and a lot of different people
coming in.
1526
01:05:21,456 --> 01:05:23,792
JIM: That was the west wing
of writing back then.
1527
01:05:23,792 --> 01:05:26,428
{\an8}- They had six sitcoms running.
- (AUDIENCE CHEERS, APPLAUDS)
1528
01:05:26,428 --> 01:05:28,730
JIM: The network
would have a lot of notes
1529
01:05:28,730 --> 01:05:31,333
and then Grant wouldn't
give them to the writers.
1530
01:05:31,333 --> 01:05:33,134
{\an8}JAMES: And the one thing
we all had in common
1531
01:05:33,134 --> 01:05:35,203
{\an8}was loving
the ass off Grant Tinker.
1532
01:05:35,203 --> 01:05:37,272
We're grateful to our cast,
you know that.
1533
01:05:37,272 --> 01:05:39,474
We're grateful to Grant Tinker
for helping us
1534
01:05:39,474 --> 01:05:41,544
{\an8}to always preserve
our creative freedom.
1535
01:05:41,544 --> 01:05:42,677
{\an8}(AUDIENCE CHEERS, APPLAUDS)
1536
01:05:42,677 --> 01:05:46,585
The winners are...
Ted Knight and Valerie Harper.
1537
01:05:47,918 --> 01:05:50,919
VALERIE: I do all my scenes
with Mary and she's the best.
1538
01:05:50,919 --> 01:05:54,089
She's a winner
and she lets us all win Emmys.
1539
01:05:54,089 --> 01:05:55,594
I mean, it's incredible. Truly.
1540
01:05:56,894 --> 01:05:58,889
JAMES: Her modesty,
her humility,
1541
01:05:58,889 --> 01:06:01,362
her need to have people
happy around her,
1542
01:06:01,362 --> 01:06:04,033
created the tent
that went over all of us.
1543
01:06:04,033 --> 01:06:05,333
Then don't make a mistake.
1544
01:06:05,333 --> 01:06:08,373
{\an8}No goody two shoes,
Mary wasn't goody two shoes.
1545
01:06:09,473 --> 01:06:11,343
{\an8}Nothing got in the way
of the work.
1546
01:06:13,644 --> 01:06:14,977
Thank you so very much.
1547
01:06:14,977 --> 01:06:17,913
ED: I'd like to thank
our two producers,
1548
01:06:17,913 --> 01:06:19,843
Alan Burns and Jim Brooks,
1549
01:06:19,843 --> 01:06:22,483
for choosing me to be a member
of the best
1550
01:06:22,483 --> 01:06:25,988
damn ensemble company
I've ever worked with.
1551
01:06:25,988 --> 01:06:28,885
I really am so proud
to be in that company
1552
01:06:28,885 --> 01:06:32,594
- and I am so grateful.
- Thank you very much.
1553
01:06:32,594 --> 01:06:35,763
{\an8}ED: Grant Tinker,
our godfather Jay Sandrich.
1554
01:06:35,763 --> 01:06:39,034
{\an8}- Most of all, we have Mary.
- ED: Treva Silverman.
1555
01:06:39,034 --> 01:06:41,036
TREVA: I was first woman
writing alone
1556
01:06:41,036 --> 01:06:42,437
to win an Emmy.
1557
01:06:42,437 --> 01:06:44,573
{\an8}I didn't know what it would
look like from here. (CHUCKLES)
1558
01:06:44,573 --> 01:06:46,108
{\an8}It looks terrific.
1559
01:06:46,108 --> 01:06:49,973
Marty Cohen,
Susan Silver wrote those words,
1560
01:06:49,973 --> 01:06:53,215
and without them,
I'd just be another pretty face.
1561
01:06:53,215 --> 01:06:55,316
(AUDIENCE LAUGHING)
1562
01:06:55,316 --> 01:06:57,218
JIM: To be around that energy
1563
01:06:57,218 --> 01:06:59,520
on the Radford lot
in Studio City,
1564
01:06:59,520 --> 01:07:01,122
I'd like to say
it was the best of times.
1565
01:07:01,122 --> 01:07:03,325
It was the best of times.
It was Camelot.
1566
01:07:03,325 --> 01:07:06,094
ED: Well, I would like to say
to actors everywhere,
1567
01:07:06,094 --> 01:07:09,664
may you have the pleasure
and joy...
1568
01:07:09,664 --> 01:07:14,469
of being with and working with
Mary Tyler Moore.
1569
01:07:14,469 --> 01:07:17,973
- Thank you. Thank you all.
- (AUDIENCE CHEERS, APPLAUDS)
1570
01:07:17,973 --> 01:07:22,177
♪ (MUSIC CONCLUDES) ♪
1571
01:07:22,177 --> 01:07:24,149
♪ (WHIMSICAL MUSIC PLAYING) ♪
1572
01:07:28,485 --> 01:07:30,385
{\an8}JOAN: Mary,
with all of the accolades
1573
01:07:30,385 --> 01:07:33,288
{\an8}she's gotten, I think
she's a much better comedian
1574
01:07:33,288 --> 01:07:36,157
{\an8}than anybody ever
gave her credit for.
1575
01:07:36,157 --> 01:07:38,193
{\an8}ALLAN: "Chuckles the Clown"
was named by TV Guide
1576
01:07:38,193 --> 01:07:40,528
{\an8}as the funniest single episode
in the history
1577
01:07:40,528 --> 01:07:43,098
{\an8}of television comedy,
when it's about death.
1578
01:07:43,098 --> 01:07:45,633
Chuckles the Clown
was just killed.
1579
01:07:45,633 --> 01:07:48,665
He was dressed as a peanut
and an elephant crushed him.
1580
01:07:48,665 --> 01:07:50,606
Stop trying to cheer me up, Lou.
1581
01:07:50,606 --> 01:07:51,806
ALLAN: And it was about
1582
01:07:51,806 --> 01:07:53,242
how different people react
differently to death,
1583
01:07:53,242 --> 01:07:55,043
and some people have
to laugh it off,
1584
01:07:55,043 --> 01:07:57,445
and Mary didn't think
it was proper.
1585
01:07:57,445 --> 01:08:00,252
Why is everyone being so callous
about this?
1586
01:08:00,885 --> 01:08:01,853
"Callous"?
1587
01:08:02,553 --> 01:08:04,019
Well, I'll have you know, dear,
1588
01:08:04,019 --> 01:08:06,454
that Chuckles and I
were very close.
1589
01:08:06,454 --> 01:08:09,124
I baked the first custard pie
he ever sat in.
1590
01:08:09,124 --> 01:08:10,926
(AUDIENCE LAUGHING)
1591
01:08:10,926 --> 01:08:12,595
Life's a lot like that.
1592
01:08:12,595 --> 01:08:14,462
(AUDIENCE LAUGHING)
1593
01:08:14,462 --> 01:08:16,932
From time to time,
we all fall down
1594
01:08:16,932 --> 01:08:18,333
- and hurt our foo-foos.
- (CHUCKLES)
1595
01:08:18,333 --> 01:08:19,969
{\an8}JOAN: She was just masterful,
1596
01:08:19,969 --> 01:08:21,836
{\an8}but she was also
incredibly inventive.
1597
01:08:21,836 --> 01:08:25,074
REV. BURNS: If only we could
deal with it as simply...
1598
01:08:25,074 --> 01:08:26,341
(AUDIENCE LAUGHING)
1599
01:08:26,341 --> 01:08:30,449
...and bravely and honestly
as Mr. Fee-Fi-Fo.
1600
01:08:32,216 --> 01:08:35,751
And what did Chuckles ask
in return? Not much.
1601
01:08:35,751 --> 01:08:38,988
(CHUCKLES SOFTLY)
1602
01:08:38,988 --> 01:08:40,525
BURNS: In his own words...
1603
01:08:41,821 --> 01:08:44,525
"A little song, a little dance,
1604
01:08:44,525 --> 01:08:46,362
a little seltzer
down your pants."
1605
01:08:46,362 --> 01:08:49,197
(LAUGHS HYSTERICALLY)
1606
01:08:49,197 --> 01:08:50,865
JOAN: There's a moment
in "Chuckles"
1607
01:08:50,865 --> 01:08:53,936
where she's laughing and then
the minister talks to her.
1608
01:08:53,936 --> 01:08:57,372
- Excuse me, young lady.
- And he says, "You, young lady."
1609
01:08:57,372 --> 01:08:59,974
And she goes, "Huh?"
And she looks around
1610
01:08:59,974 --> 01:09:02,044
hoping there's somebody
behind her that he's talking to.
1611
01:09:02,044 --> 01:09:03,979
Yes, you.
1612
01:09:03,979 --> 01:09:06,514
Uh. Would you stand up, please?
1613
01:09:06,514 --> 01:09:09,719
- (WHIMPERS)
- (AUDIENCE LAUGHING)
1614
01:09:09,719 --> 01:09:11,290
Please. Please. Won't you?
1615
01:09:13,024 --> 01:09:14,193
(CLEARS THROAT)
1616
01:09:14,993 --> 01:09:16,792
You feel like laughing,
don't you?
1617
01:09:16,792 --> 01:09:18,793
(LAUGHS)
1618
01:09:18,793 --> 01:09:22,331
JOAN: That kind of invention
only comes from someone who has
1619
01:09:22,331 --> 01:09:25,796
such a deeply rooted sense
of human behavior.
1620
01:09:25,796 --> 01:09:27,670
BURNS: Go ahead,
laugh out loud.
1621
01:09:27,670 --> 01:09:29,304
Don't you see?
Nothing would've made
1622
01:09:29,304 --> 01:09:33,036
Chuckles happier.
He lived to make people laugh.
1623
01:09:33,036 --> 01:09:36,548
So, go ahead, my dear.
Laugh for Chuckles.
1624
01:09:38,617 --> 01:09:39,648
(SOBS)
1625
01:09:39,648 --> 01:09:42,150
JOAN: Mary Richards
was Mary Tyler Moore inside out.
1626
01:09:42,150 --> 01:09:43,718
Everything that was inside Mary
1627
01:09:43,718 --> 01:09:45,653
was right there
in front of the camera
1628
01:09:45,653 --> 01:09:48,961
for people to enjoy, and admire,
and root for.
1629
01:09:50,194 --> 01:09:51,659
{\an8}We have our very last show...
1630
01:09:51,659 --> 01:09:53,128
{\an8}- Oh, yeah.
- ...coming up on the filming
1631
01:09:53,128 --> 01:09:54,496
{\an8}- schedule in three weeks.
- GUEST: No!
1632
01:09:54,496 --> 01:09:56,768
- Yes!
- Yes. And this one's gonna be
a guest on it.
1633
01:09:58,069 --> 01:09:59,267
{\an8}JAMES: It was on our fifth year.
1634
01:09:59,267 --> 01:10:00,502
{\an8}And they say,
"Let's go out on top.
1635
01:10:00,502 --> 01:10:02,170
{\an8}Let's go out
on our sixth season."
1636
01:10:02,170 --> 01:10:04,676
{\an8}And I said, "Seven."
And they said, "Okay."
1637
01:10:05,977 --> 01:10:08,810
Ted, you're staying.
1638
01:10:08,810 --> 01:10:11,981
{\an8}And the rest of you guys,
I'm gonna have to let go.
1639
01:10:11,981 --> 01:10:15,383
(AUDIENCE LAUGHING)
1640
01:10:15,383 --> 01:10:18,420
- You're letting us go?
- (INDISTINCT CHATTER)
1641
01:10:18,420 --> 01:10:20,121
JAMES: "The Last Show"
was murder
1642
01:10:20,121 --> 01:10:21,690
because of all the attention
we had.
1643
01:10:21,690 --> 01:10:23,758
People writing
about nothing else.
1644
01:10:23,758 --> 01:10:26,698
The world stopped.
She wanted to go out on top.
1645
01:10:28,833 --> 01:10:31,336
Thank you for being my family.
1646
01:10:31,770 --> 01:10:33,705
(SOBS)
1647
01:10:36,908 --> 01:10:38,340
TREVA: Each year,
we all would give
1648
01:10:38,340 --> 01:10:39,908
Christmas presents
to each other.
1649
01:10:39,908 --> 01:10:42,444
{\an8}You would think a lot
about what to get somebody.
1650
01:10:42,444 --> 01:10:45,881
{\an8}And a lot of my friends
were reading a book called,
1651
01:10:45,881 --> 01:10:47,515
How to Be Your Own Best Friend.
1652
01:10:47,515 --> 01:10:50,919
I thought of Mary
as been a little way isolated
1653
01:10:50,919 --> 01:10:52,387
and so I bought that for her.
1654
01:10:52,387 --> 01:10:54,890
This was the beginning
of my getting to know
1655
01:10:54,890 --> 01:10:56,291
the fragility.
1656
01:10:56,291 --> 01:11:00,495
And she said,
"Oh, you lovely lady.
1657
01:11:00,495 --> 01:11:03,799
Somebody understands
that I'm not Mary Richards,
1658
01:11:03,799 --> 01:11:07,001
that I'm not happy
all the damn time."
1659
01:11:07,001 --> 01:11:12,072
- ♪ Its a long way to Tipperary ♪
- ♪ Long way to Tipperary ♪
1660
01:11:12,072 --> 01:11:16,078
- ♪ To the sweetest girl I know ♪
- ♪ To the sweetest girl I know ♪
1661
01:11:16,078 --> 01:11:17,279
(SMOOCHES)
1662
01:11:17,279 --> 01:11:19,448
MARY: It had been a whole week
1663
01:11:19,448 --> 01:11:23,284
of intermittent bursting
into sobs for everybody.
1664
01:11:23,284 --> 01:11:25,521
- ♪ Farewell Leicester Square ♪
- ♪ Farewell Leicester Square ♪
1665
01:11:25,521 --> 01:11:27,392
♪ It's a long, long... ♪
1666
01:11:30,361 --> 01:11:32,860
MARY: That moment of going back,
opening the door
1667
01:11:32,860 --> 01:11:36,731
and looking around
at the seven years that faced me
1668
01:11:36,731 --> 01:11:41,073
and that was about to go off,
was sublimely tough.
1669
01:11:51,081 --> 01:11:54,182
{\an8}ANNOUNCER:
Ladies and gentlemen,
for the last time,
1670
01:11:54,182 --> 01:11:55,887
{\an8}Mary Tyler Moore.
1671
01:11:57,722 --> 01:11:58,690
MARY: Thank you.
1672
01:11:59,523 --> 01:12:02,525
The best cast ever. Ed Asner.
1673
01:12:02,525 --> 01:12:06,094
{\an8}(CROWD APPLAUDING, CHEERING)
1674
01:12:06,094 --> 01:12:08,067
{\an8}- SPECTATOR: Yeah!
- Ted Knight.
1675
01:12:10,129 --> 01:12:12,837
{\an8}- SPECTATOR: Yeah!
- Gavin MacLeod.
1676
01:12:14,605 --> 01:12:16,772
{\an8}SPECTATOR: Yeah, yeah, yeah!
1677
01:12:16,772 --> 01:12:17,809
{\an8}Betty White.
1678
01:12:20,773 --> 01:12:21,981
{\an8}Georgia Engel.
1679
01:12:25,249 --> 01:12:26,651
{\an8}Valerie Harper.
1680
01:12:28,620 --> 01:12:30,489
{\an8}And Cloris Leachman.
1681
01:12:34,825 --> 01:12:35,827
{\an8}Thank you.
1682
01:12:39,531 --> 01:12:41,630
{\an8}♪ (MUSIC CONCLUDES) ♪
1683
01:12:41,630 --> 01:12:44,103
♪ (SOFT INSTRUMENTAL MUSIC
PLAYING) ♪
1684
01:12:46,570 --> 01:12:48,503
{\an8}RONA:
You're not a perfect person.
1685
01:12:48,503 --> 01:12:49,705
{\an8}- I'm not a perf--
- Yes, I am.
1686
01:12:49,705 --> 01:12:51,306
{\an8}- RONA: Come now, Mary.
- (CHUCKLES)
1687
01:12:51,306 --> 01:12:52,841
RONA: We know, I'm not perfect.
1688
01:12:52,841 --> 01:12:54,542
- You are not perfect.
- Exactly.
1689
01:12:54,542 --> 01:12:56,178
- RONA: You know, there's this...
- Yeah.
1690
01:12:56,178 --> 01:12:58,814
...other side
and you've coped a lot,
1691
01:12:58,814 --> 01:13:01,650
and I'd like to know
how you get through it.
1692
01:13:01,650 --> 01:13:04,286
What do you use in order to get
1693
01:13:04,286 --> 01:13:06,558
through those
very, very rough times?
1694
01:13:07,225 --> 01:13:08,727
You lost a sister.
1695
01:13:10,595 --> 01:13:12,222
{\an8}MARY: She was 21.
1696
01:13:12,222 --> 01:13:15,030
{\an8}She had been living
with a young man
1697
01:13:15,030 --> 01:13:16,298
{\an8}whom she loved,
1698
01:13:16,298 --> 01:13:20,802
and he broke it off with her
and she couldn't handle that.
1699
01:13:20,802 --> 01:13:25,341
And so she drank
and she took barbiturates,
1700
01:13:25,341 --> 01:13:27,009
and nobody is sure
1701
01:13:27,009 --> 01:13:30,445
whether or not
that was a purposeful act
1702
01:13:30,445 --> 01:13:35,316
but she died that night
of an overdose.
1703
01:13:35,316 --> 01:13:37,585
RONA: What do you call upon
1704
01:13:37,585 --> 01:13:40,856
to get you through
those kind of times?
1705
01:13:40,856 --> 01:13:43,595
I don't know how to describe it,
except--
1706
01:13:44,628 --> 01:13:48,430
You know, to use the word, survivor.
1707
01:13:48,430 --> 01:13:53,002
One who survives.
I believe in tomorrow.
1708
01:13:53,002 --> 01:13:56,438
I believe
that things that are painful...
1709
01:13:56,438 --> 01:14:01,080
uh, will not be as painful
in some time.
1710
01:14:06,684 --> 01:14:09,250
ANNOUNCER:
From television city
in Hollywood.
1711
01:14:09,250 --> 01:14:14,023
♪ I want to be happy ♪
1712
01:14:14,023 --> 01:14:16,291
{\an8}ANNOUNCER:
How to Be Your Own Best Friend.
1713
01:14:16,291 --> 01:14:19,394
{\an8}♪ I want to be happy ♪
1714
01:14:19,394 --> 01:14:20,763
{\an8}ANNOUNCER:
How to Survive the 70s
1715
01:14:20,763 --> 01:14:22,597
{\an8}and Maybe Even Bump
Into Happiness.
1716
01:14:22,597 --> 01:14:26,101
Ladies and gentlemen,
Mary Tyler Moore.
1717
01:14:26,101 --> 01:14:31,774
♪ I want to be happy
But I won't be happy ♪
1718
01:14:31,774 --> 01:14:36,048
♪ Till I make you happy too ♪
1719
01:14:37,616 --> 01:14:39,147
RONA: What does friendship mean?
1720
01:14:39,147 --> 01:14:40,615
- Trust.
- RONA: You're kind?
1721
01:14:40,615 --> 01:14:46,421
And respect for intelligence.
Um, a compatibility.
1722
01:14:46,421 --> 01:14:48,994
It's almost like a marriage
without sex.
1723
01:14:49,661 --> 01:14:51,426
Um, isn't it?
1724
01:14:51,426 --> 01:14:53,565
- Really. Yeah.
- RONA: Of sorts?
1725
01:14:54,532 --> 01:14:55,964
Enjoying the same things,
1726
01:14:55,964 --> 01:14:58,600
being able to fight
and fight fairly.
1727
01:14:58,600 --> 01:15:00,969
RONA: Do you think
that's what ruins marriage?
1728
01:15:00,969 --> 01:15:03,608
- Sex? (LAUGHS)
- RONA: Is that the sex-- Yeah.
1729
01:15:04,842 --> 01:15:06,075
REPORTER:
Actress Mary Tyler Moore
1730
01:15:06,075 --> 01:15:09,344
has filed for divorce
from her husband, Grant Tinker.
1731
01:15:09,344 --> 01:15:10,745
The two were married
for 18 years
1732
01:15:10,745 --> 01:15:14,082
and together they created
and ran MTM Enterprises,
1733
01:15:14,082 --> 01:15:14,984
the television company
1734
01:15:14,984 --> 01:15:17,518
that gave us
The Mary Tyler Moore Show.
1735
01:15:17,518 --> 01:15:20,488
RONA: What really started
the process
1736
01:15:20,488 --> 01:15:24,092
of Mary Tyler Moore
saying to herself,
1737
01:15:24,092 --> 01:15:28,597
"The time has come for me
to become an independent person,
1738
01:15:28,597 --> 01:15:31,801
no longer attached
to a husband."
1739
01:15:31,801 --> 01:15:33,468
You moved back
to New York City.
1740
01:15:33,468 --> 01:15:34,703
- MARY: Yes.
- RONA: And you said to me,
1741
01:15:34,703 --> 01:15:36,338
New York City
was gonna provide me
1742
01:15:36,338 --> 01:15:37,705
with a new kind of life.
1743
01:15:37,705 --> 01:15:41,409
You divorced after some 17,
18 years of marriage.
1744
01:15:41,409 --> 01:15:42,978
Is it difficult
to be on your own?
1745
01:15:42,978 --> 01:15:44,846
MARY: Oh, yeah.
It's very difficult.
1746
01:15:44,846 --> 01:15:47,049
Marriage relationships
or lover relationships
1747
01:15:47,049 --> 01:15:49,217
are destined to last
a certain amount of time.
1748
01:15:49,217 --> 01:15:51,853
Never think of that
as a failed marriage.
1749
01:15:51,853 --> 01:15:54,923
And it has nothing to do
with why a marriage ends.
1750
01:15:54,923 --> 01:15:56,858
Who wants it to end,
who doesn't.
1751
01:15:56,858 --> 01:15:59,228
It's just completely alien
to you
1752
01:15:59,228 --> 01:16:01,196
after that amount of time.
1753
01:16:01,196 --> 01:16:02,664
It's a big transition to make.
1754
01:16:02,664 --> 01:16:06,902
In my case, it coincided
with a change in career
1755
01:16:06,902 --> 01:16:09,438
and it may have looked
as though I calculated,
1756
01:16:09,438 --> 01:16:11,173
"Oh, now, I'm going
to end my marriage.
1757
01:16:11,173 --> 01:16:13,575
I'm going to do drama.
I'm going to move to New York."
1758
01:16:13,575 --> 01:16:15,981
And it truly didn't happen
that way.
1759
01:16:17,949 --> 01:16:19,375
TREVA:
I knew she was in New York
1760
01:16:19,375 --> 01:16:21,416
because she was starring
in a play
1761
01:16:21,416 --> 01:16:22,950
{\an8}called Whose Life Is Anyway?
1762
01:16:22,950 --> 01:16:26,389
{\an8}which was diametrically
different from Mary Richards.
1763
01:16:26,389 --> 01:16:27,522
It was a drama
1764
01:16:27,522 --> 01:16:30,992
with a lot of sarcastic,
sardonic humor
1765
01:16:30,992 --> 01:16:33,861
of a woman fighting
for the right to die.
1766
01:16:33,861 --> 01:16:37,098
{\an8}MANNY: The phone rang
and it was Mary Tyler Moore
1767
01:16:37,098 --> 01:16:39,301
{\an8}who said,
"I want to do that play."
1768
01:16:39,301 --> 01:16:41,269
The extraordinary part was,
1769
01:16:41,269 --> 01:16:46,274
Mary Tyler Moore was a major,
major star in this country
1770
01:16:46,274 --> 01:16:49,111
and she decided
to walk away from that.
1771
01:16:49,111 --> 01:16:51,513
And she came
to the first rehearsal
1772
01:16:51,513 --> 01:16:53,018
fully memorized.
1773
01:16:55,819 --> 01:16:57,752
MARY: Well, I didn't really
leave television.
1774
01:16:57,752 --> 01:17:00,890
What happened then was
that I was offered the play,
1775
01:17:00,890 --> 01:17:02,091
Whose Life is it Anyway?
1776
01:17:02,091 --> 01:17:05,226
And it was
so beautifully written and...
1777
01:17:05,226 --> 01:17:08,397
had already been a success
with Tom Conti starring in it
1778
01:17:08,397 --> 01:17:10,065
that I wanted to try that.
1779
01:17:10,065 --> 01:17:13,335
MANNY: Mary Tyler Moore
replaced Tom Conti
1780
01:17:13,335 --> 01:17:14,769
who had won the Tony.
1781
01:17:14,769 --> 01:17:17,172
And it's a rare item
that somebody goes in
1782
01:17:17,172 --> 01:17:20,109
after a star
and replicates the role.
1783
01:17:20,109 --> 01:17:21,343
I'm not quite sure
1784
01:17:21,343 --> 01:17:25,547
what the impetus for her
doing that play was.
1785
01:17:25,547 --> 01:17:29,551
Everyone will take credit for it
because it was a unique moment
1786
01:17:29,551 --> 01:17:31,447
that hadn't been done before.
1787
01:17:31,447 --> 01:17:34,522
I suspect
it was always her idea.
1788
01:17:34,522 --> 01:17:36,119
The truth is,
I didn't think of it,
1789
01:17:36,119 --> 01:17:37,392
nor did the director.
1790
01:17:37,392 --> 01:17:39,427
{\an8}MICHAEL LINDSAY-HOGG:
We talked about it and she said,
1791
01:17:39,427 --> 01:17:42,064
{\an8}did I think it would work
with a woman playing the part?
1792
01:17:42,064 --> 01:17:43,931
{\an8}And I thought,
"Why wouldn't it?"
1793
01:17:43,931 --> 01:17:48,136
{\an8}And so, Mary came to New York
and we started rehearsing.
1794
01:17:48,136 --> 01:17:49,938
MANNY:
She was ahead of the game.
1795
01:17:49,938 --> 01:17:53,874
Not only did she replace the man
who won the Tony,
1796
01:17:53,874 --> 01:17:57,045
but this was one of the most
glamorous women in America.
1797
01:17:57,045 --> 01:18:00,949
And she decided to play a woman
that was paralyzed
1798
01:18:00,949 --> 01:18:02,784
and had a sheet covering her
1799
01:18:02,784 --> 01:18:05,190
in a hospital bed
for the entire evening.
1800
01:18:06,723 --> 01:18:08,523
You were so successful
for so many years,
1801
01:18:08,523 --> 01:18:10,091
{\an8}it's just like
people are waiting
1802
01:18:10,091 --> 01:18:13,329
{\an8}for someone as successful
as you are to have a failure.
1803
01:18:13,329 --> 01:18:14,629
{\an8}And they were--
1804
01:18:14,629 --> 01:18:16,526
It seems true
that they were hoping
1805
01:18:16,526 --> 01:18:17,999
maybe you'd just retire
from show business
1806
01:18:17,999 --> 01:18:19,869
but you didn't.
You went to the Broadway play,
1807
01:18:19,869 --> 01:18:21,504
which was not an easy thing
to do.
1808
01:18:21,504 --> 01:18:22,570
Oh, I... I don't have
1809
01:18:22,570 --> 01:18:24,205
such a jaded view of people.
(CHUCKLES)
1810
01:18:24,205 --> 01:18:26,875
It's that, I think there are
maybe about 17 people
1811
01:18:26,875 --> 01:18:28,110
who hope you fall
on your face...
1812
01:18:28,110 --> 01:18:29,778
- LETTERMAN: Yeah.
- ...but we tend to magnify that.
1813
01:18:29,778 --> 01:18:30,980
I don't think it's true.
1814
01:18:30,980 --> 01:18:33,185
I'm awfully glad
I did that play.
1815
01:18:34,985 --> 01:18:39,020
{\an8}TREVA: She was extraordinary.
She got incredible reviews.
1816
01:18:39,020 --> 01:18:40,989
MARY: It was
a terrific achievement for me.
1817
01:18:40,989 --> 01:18:44,460
It exonerated me
from Breakfast at Tiffany's,
1818
01:18:44,460 --> 01:18:45,693
and again it showed
1819
01:18:45,693 --> 01:18:48,229
a rather skeptical
New York contingent
1820
01:18:48,229 --> 01:18:51,833
that there might be something
to television after all.
1821
01:18:51,833 --> 01:18:55,203
TREVA: I went backstage
to see her and I told her
1822
01:18:55,203 --> 01:18:59,641
there was not one gesture,
not one single thing
1823
01:18:59,641 --> 01:19:02,344
that was a Mary Richards
kind of thing.
1824
01:19:02,344 --> 01:19:04,112
And she said...
(GASPING) "...I'm so glad
1825
01:19:04,112 --> 01:19:07,282
because you're the first person
from the show who's been here."
1826
01:19:07,282 --> 01:19:10,051
And she said,
"I was very, very intent
1827
01:19:10,051 --> 01:19:13,158
on not doing any Mary Richards."
1828
01:19:14,258 --> 01:19:16,426
Funnily enough,
The Mary Tyler Moore Show
1829
01:19:16,426 --> 01:19:18,660
now mirrors my life.
1830
01:19:18,660 --> 01:19:20,763
Uh, when I was filming
that show,
1831
01:19:20,763 --> 01:19:22,330
I was married,
I was born married.
1832
01:19:22,330 --> 01:19:24,900
I'd never had
the single experience, you know?
1833
01:19:24,900 --> 01:19:28,170
And for the last three years,
I've been on my own,
1834
01:19:28,170 --> 01:19:30,873
and now living almost every one
of the episodes
1835
01:19:30,873 --> 01:19:32,074
that we filmed. (LAUGHING)
1836
01:19:32,074 --> 01:19:33,908
All those situations,
I can now say,
1837
01:19:33,908 --> 01:19:38,413
"Oh, now, I really understand
what was happening."
1838
01:19:38,413 --> 01:19:40,282
I decided to stay in New York
1839
01:19:40,282 --> 01:19:44,853
and try to capture my life
for myself.
1840
01:19:44,853 --> 01:19:47,389
{\an8}TREVA: Here she was, 40,
seeing what life
1841
01:19:47,389 --> 01:19:51,326
{\an8}for an adorable single person
was like.
1842
01:19:51,326 --> 01:19:54,529
And she loved what it was like.
(CHUCKLING)
1843
01:19:54,529 --> 01:19:58,634
The only way I could say it is
that she was more like Rhoda.
1844
01:19:58,634 --> 01:20:00,472
It was wonderful.
1845
01:20:01,506 --> 01:20:02,370
Adolescence.
1846
01:20:02,370 --> 01:20:04,206
I think that's what
I'm going through now.
1847
01:20:04,206 --> 01:20:05,907
And I think
that's a positive term
1848
01:20:05,907 --> 01:20:07,809
as opposed to a negative one.
1849
01:20:07,809 --> 01:20:11,080
And I think it will make me
a better actress.
1850
01:20:11,080 --> 01:20:14,983
MARY: I dated, I made friends.
I had a little apartment.
1851
01:20:14,983 --> 01:20:16,886
I did my own shopping.
1852
01:20:16,886 --> 01:20:20,225
I sort of played house,
but in real life.
1853
01:20:22,293 --> 01:20:24,125
New Yorkers
are really very friendly.
1854
01:20:24,125 --> 01:20:25,493
I get truck drivers and cabbies,
1855
01:20:25,493 --> 01:20:29,564
"Hey, Mar, it's good to see you.
Love the show." (CHUCKLES)
1856
01:20:29,564 --> 01:20:34,670
MARY: You're in it, in humanity
and all kinds of people,
1857
01:20:34,670 --> 01:20:37,339
not just one class of people.
1858
01:20:37,339 --> 01:20:39,609
Because Grant was so much
a part of my life,
1859
01:20:39,609 --> 01:20:41,043
I felt no need for friends
1860
01:20:41,043 --> 01:20:42,878
except those people
with whom I was working.
1861
01:20:42,878 --> 01:20:45,080
But now, I have many friends.
1862
01:20:45,080 --> 01:20:48,417
{\an8}TREVA: Her humor
didn't come out so much in L.A.
1863
01:20:48,417 --> 01:20:52,315
{\an8}But in New York, she was loose,
and free and funny,
1864
01:20:52,315 --> 01:20:54,990
which was adorable.
1865
01:20:54,990 --> 01:20:58,463
{\an8}BILL: Everybody wanted
to take out Mary Tyler Moore.
1866
01:20:59,731 --> 01:21:00,829
{\an8}RONA: Are you dating?
1867
01:21:00,829 --> 01:21:03,498
{\an8}MARY: Oh, I hate that word.
(CHUCKLING)
1868
01:21:03,498 --> 01:21:07,002
I see people.
I go out to dinner with people.
1869
01:21:07,002 --> 01:21:10,738
I travel with people
and I consider them my friends.
1870
01:21:10,738 --> 01:21:14,577
{\an8}MICHAEL: We had a relationship
while the show was going on.
1871
01:21:14,577 --> 01:21:16,078
{\an8}We were helping each other.
1872
01:21:16,078 --> 01:21:19,114
{\an8}I was trying to make her
really good in the play.
1873
01:21:19,114 --> 01:21:22,884
There was a part of Mary
which was absolutely delightful
1874
01:21:22,884 --> 01:21:24,219
and very funny.
1875
01:21:24,219 --> 01:21:26,849
But then,
there was another part of her,
1876
01:21:26,849 --> 01:21:30,859
which was nervous as a person
who is wondering
1877
01:21:30,859 --> 01:21:32,664
if they've made
the right choice.
1878
01:21:38,102 --> 01:21:39,368
PRESENTER:
A good evening and welcome
1879
01:21:39,368 --> 01:21:43,138
{\an8}to the 34th annual presentation
of the Tony Awards.
1880
01:21:43,138 --> 01:21:44,974
The ultimate test
for a performer
1881
01:21:44,974 --> 01:21:46,408
is the naked stage.
1882
01:21:46,408 --> 01:21:49,377
It takes courage for someone
who's made a successful career
1883
01:21:49,377 --> 01:21:51,613
in another medium
to chance this.
1884
01:21:51,613 --> 01:21:55,517
So, when someone does
take a chance and brings it off,
1885
01:21:55,517 --> 01:22:00,092
she, in this case,
she wins our respect.
1886
01:22:01,092 --> 01:22:03,124
The people who administer
the Tony Awards
1887
01:22:03,124 --> 01:22:05,360
have this year in their wisdom
1888
01:22:05,360 --> 01:22:10,031
decided to give a special award
to Mary Tyler Moore.
1889
01:22:10,031 --> 01:22:13,072
(AUDIENCE CHEERING, APPLAUDING)
1890
01:22:25,016 --> 01:22:28,083
This, um, will symbolize for me
1891
01:22:28,083 --> 01:22:31,186
forever the absolute joy
in creative risk-taking.
1892
01:22:31,186 --> 01:22:33,088
It's the essence of live theater
1893
01:22:33,088 --> 01:22:36,925
and I am so very proud to be now
a part of that community.
1894
01:22:36,925 --> 01:22:39,394
My deepest thanks
to Manny Azenberg
1895
01:22:39,394 --> 01:22:41,462
for inviting me
and to all of you
1896
01:22:41,462 --> 01:22:45,734
for this very warm welcome.
I love the neighborhood.
1897
01:22:45,734 --> 01:22:47,139
Thank you.
1898
01:22:55,279 --> 01:22:56,912
{\an8}MICHAEL: At one point,
Mary wanted
1899
01:22:56,912 --> 01:22:58,679
{\an8}an exclusive relationship
1900
01:22:58,679 --> 01:23:00,715
{\an8}but then she said,
"But I don't know what I mean."
1901
01:23:00,715 --> 01:23:03,085
{\an8}It wasn't like she wanted
to get married again.
1902
01:23:03,085 --> 01:23:04,819
There was the issue,
1903
01:23:04,819 --> 01:23:09,224
which was an occasional issue
then of Mary's drinking.
1904
01:23:09,224 --> 01:23:12,360
One vodka on the rocks
at dinner, she'd be great.
1905
01:23:12,360 --> 01:23:14,796
Two vodkas on the rocks, same.
1906
01:23:14,796 --> 01:23:18,266
{\an8}But usually if she had
a third cocktail and some wine,
1907
01:23:18,266 --> 01:23:21,603
she got slightly belligerent.
She'd lose concentration.
1908
01:23:21,603 --> 01:23:25,675
And so whatever conversation
you were having
1909
01:23:25,675 --> 01:23:27,376
might take a wrong turn.
1910
01:23:27,376 --> 01:23:30,412
MARY: I found myself
not going out after five o'clock
1911
01:23:30,412 --> 01:23:34,182
{\an8}and making sure that everything
was set up for me near the phone
1912
01:23:34,182 --> 01:23:35,450
{\an8}that was near the television.
1913
01:23:35,450 --> 01:23:38,153
And that I had my blender
full of drinks
1914
01:23:38,153 --> 01:23:39,554
that I was concocting
1915
01:23:39,554 --> 01:23:43,024
in an attempt to do something
worthwhile in the kitchen.
1916
01:23:43,024 --> 01:23:44,960
(CHUCKLING)
It was a pretty sad lady
1917
01:23:44,960 --> 01:23:46,494
that was emerging.
1918
01:23:46,494 --> 01:23:48,396
LETTERMAN: I saw
this movie, Ordinary People.
1919
01:23:48,396 --> 01:23:50,833
What a-- It's a killer.
It's just terrific.
1920
01:23:50,833 --> 01:23:52,233
- Thank you very much.
- And...
1921
01:23:52,233 --> 01:23:54,369
(AUDIENCE CHEERING, APPLAUDING)
1922
01:23:54,369 --> 01:23:55,971
Did you have to wait in line
for a long time?
1923
01:23:55,971 --> 01:23:57,776
I waited in line
for about an hour.
1924
01:23:58,877 --> 01:24:00,810
{\an8}- (GASPS)
- Oh, I'm sorry.
1925
01:24:00,810 --> 01:24:02,244
{\an8}Don't do that.
1926
01:24:02,244 --> 01:24:04,714
Who had the foresight to say,
"She'd be great"?
1927
01:24:04,714 --> 01:24:06,114
Well... Bob Redford, um...
1928
01:24:06,114 --> 01:24:07,816
told me that when he had
first read the book
1929
01:24:07,816 --> 01:24:09,218
in galley form,
four years before
1930
01:24:09,218 --> 01:24:11,152
he had envisioned me
as... as the mother
1931
01:24:11,152 --> 01:24:12,521
before he knew
he was going to...
1932
01:24:12,521 --> 01:24:15,123
buy the... the property
and make a movie.
1933
01:24:15,123 --> 01:24:17,592
And he said also that he had
always been fascinated
1934
01:24:17,592 --> 01:24:20,824
by what might be the dark side
of Mary Tyler Moore.
1935
01:24:20,824 --> 01:24:22,364
because in most
everything I've done,
1936
01:24:22,364 --> 01:24:24,299
it's been sunny, and open,
and optimistic.
1937
01:24:24,299 --> 01:24:27,068
And he knew, that little devil,
that there... (CHUCKLES)
1938
01:24:27,068 --> 01:24:29,671
...there was a lot
of other stuff happening.
1939
01:24:29,671 --> 01:24:31,306
{\an8}ROBERT REDFORD:
I had a place in Malibu.
1940
01:24:31,306 --> 01:24:33,175
{\an8}I was sitting there
just looking out the ocean
1941
01:24:33,175 --> 01:24:34,542
{\an8}and suddenly
this woman walks by.
1942
01:24:34,542 --> 01:24:37,079
{\an8}What it looked like to me
was that she was sad.
1943
01:24:37,079 --> 01:24:39,614
I said,
"Oh, that's Mary Tyler Moore."
1944
01:24:39,614 --> 01:24:41,682
And we had always seen
Mary Tyler Moore as this
1945
01:24:41,682 --> 01:24:45,020
happy-go-lucky, upbeat,
wonderful, wonderful character
1946
01:24:45,020 --> 01:24:47,222
who was full of joy
and innocence.
1947
01:24:47,222 --> 01:24:52,394
{\an8}In the film,
Beth's... barrenness of emotion
1948
01:24:52,394 --> 01:24:54,866
{\an8}derives from the fact
that she lost her son Buck
1949
01:24:55,299 --> 01:24:57,060
in an accident
1950
01:24:57,060 --> 01:25:00,335
and that she can't deal
with the surviving son
1951
01:25:00,335 --> 01:25:02,805
because of what
this has done to her.
1952
01:25:02,805 --> 01:25:04,206
- CALVIN: That is great.
- Do it.
1953
01:25:04,206 --> 01:25:06,408
- Calvin.
- Just a second. Smile.
1954
01:25:06,408 --> 01:25:08,476
- Calvin. Give me the camera.
- No, I didn't get it yet, Beth.
1955
01:25:08,476 --> 01:25:10,478
- Come on, give me the camera.
- Dad, give her the camera.
1956
01:25:10,478 --> 01:25:12,447
MARY:
That was such a change of pace
1957
01:25:12,447 --> 01:25:15,417
that a woman
could be so brittle inside
1958
01:25:15,417 --> 01:25:19,120
that she could alienate her son.
I saw her as a victim.
1959
01:25:19,120 --> 01:25:20,559
All right. What do you think?
1960
01:25:22,727 --> 01:25:23,691
Very nice.
1961
01:25:23,691 --> 01:25:26,728
I saw her as very reminiscent
of my own life.
1962
01:25:26,728 --> 01:25:29,331
If it's starting all over again,
the lying, the covering up,
1963
01:25:29,331 --> 01:25:30,432
the disappearing for hours,
1964
01:25:30,432 --> 01:25:31,766
I will not stand for it.
I can't stand it.
1965
01:25:31,766 --> 01:25:34,502
- I really can't.
- Well, don't then, go to Europe.
1966
01:25:34,502 --> 01:25:36,538
{\an8}ROB: When I saw her
in Ordinary People,
1967
01:25:36,538 --> 01:25:39,374
{\an8}I thought
that's more like who she is.
1968
01:25:39,374 --> 01:25:41,877
She didn't want
to talk about things
1969
01:25:41,877 --> 01:25:43,645
that were uncomfortable.
1970
01:25:43,645 --> 01:25:46,248
{\an8}JOHN: I'd seen some of that
in Mary
1971
01:25:46,248 --> 01:25:49,118
{\an8}in her more serious moments
with my father.
1972
01:25:49,118 --> 01:25:52,424
I'd seen that pensiveness,
the hand wringing.
1973
01:25:53,624 --> 01:25:56,291
You drink too much
at parties, Calvin.
1974
01:25:56,291 --> 01:25:59,662
JOHN: I'd seen anger,
hurt, confusion,
1975
01:25:59,662 --> 01:26:02,932
the inability
to connect with Rich.
1976
01:26:02,932 --> 01:26:04,536
I'd seen flashes of that.
1977
01:26:10,207 --> 01:26:13,074
You were, uh, loved and adored
as Mary Richards,
1978
01:26:13,074 --> 01:26:15,544
who was anything
but what Beth is.
1979
01:26:15,544 --> 01:26:17,712
And now you're loved and adored
1980
01:26:17,712 --> 01:26:20,415
because you're just
kind of a... a nas--
1981
01:26:20,415 --> 01:26:22,017
- Not a nasty person, but--
- MARY: I don't know
1982
01:26:22,017 --> 01:26:23,518
if I'm loved and adored.
1983
01:26:23,518 --> 01:26:25,286
In times past,
people would come up to me
1984
01:26:25,286 --> 01:26:27,156
in the street and say,
"Hey Mar, how are you?"
1985
01:26:27,156 --> 01:26:29,358
Now, they're going, "Ah, hi."
1986
01:26:29,358 --> 01:26:31,626
(CHUCKLES)
But that's terrific, I mean...
1987
01:26:31,626 --> 01:26:34,129
JAMES: In 1980,
in a grim instance
1988
01:26:34,129 --> 01:26:36,235
of life mirroring art...
1989
01:26:37,767 --> 01:26:40,639
{\an8}you faced a new torment,
did you not? That echoed...
1990
01:26:41,940 --> 01:26:44,409
{\an8}the death of that son
in Ordinary People.
1991
01:26:45,309 --> 01:26:46,842
REPORTER 1:
The son of television star
1992
01:26:46,842 --> 01:26:49,011
Mary Tyler Moore is dead.
1993
01:26:49,011 --> 01:26:51,179
REPORTER 2: But the coroner
is still doing tests
1994
01:26:51,179 --> 01:26:53,382
to determine if 24-year-old
Richard Meeker
1995
01:26:53,382 --> 01:26:55,420
deliberately shot himself.
1996
01:26:56,955 --> 01:27:01,426
MARY: He died in an accident
with a gun.
1997
01:27:06,830 --> 01:27:08,863
{\an8}JOHN: The reports
that it had been a suicide
1998
01:27:08,863 --> 01:27:12,700
{\an8}would further cause anguish
and it just was so unfair.
1999
01:27:12,700 --> 01:27:16,439
There was no doubt in my mind
from the very beginning
2000
01:27:16,439 --> 01:27:18,506
that that was an accident.
2001
01:27:18,506 --> 01:27:22,381
I knew Rich,
I knew he could be... careless.
2002
01:27:23,548 --> 01:27:25,246
He loved life too much.
2003
01:27:25,246 --> 01:27:28,817
He was a really lovable goof.
2004
01:27:28,817 --> 01:27:33,784
He explored. He loved people.
He had a huge heart.
2005
01:27:33,784 --> 01:27:35,524
Yet he had a side of him
2006
01:27:35,524 --> 01:27:37,759
that was just a little
accident prone.
2007
01:27:37,759 --> 01:27:40,462
MARY: He had a gun collection.
He was lying on his bed
2008
01:27:40,462 --> 01:27:42,534
and he was fooling
with one of them.
2009
01:27:43,701 --> 01:27:45,433
{\an8}RONDA: When I viewed that movie,
2010
01:27:45,433 --> 01:27:47,870
{\an8}I thought
Richie had already died
2011
01:27:47,870 --> 01:27:50,072
{\an8}when she played that role.
2012
01:27:50,072 --> 01:27:55,480
{\an8}And then it turned out
that life imitated art, sadly.
2013
01:28:04,488 --> 01:28:05,753
{\an8}TREVA: Richie died three weeks
2014
01:28:05,753 --> 01:28:08,323
{\an8}after the premier
of Ordinary People.
2015
01:28:08,323 --> 01:28:10,526
{\an8}So, the Oscar nomination
for best actress
2016
01:28:10,526 --> 01:28:12,697
{\an8}that followed was bittersweet.
2017
01:28:17,667 --> 01:28:20,335
{\an8}DUSTIN: For her role as a mother
unable and unwilling
2018
01:28:20,335 --> 01:28:23,238
{\an8}to bend her own
self-imposed restrictions
2019
01:28:23,238 --> 01:28:25,174
{\an8}on the meaning of love and life,
2020
01:28:25,174 --> 01:28:28,477
Ms. Mary Tyler Moore
in Ordinary People.
2021
01:28:28,477 --> 01:28:31,747
{\an8}(AUDIENCE CHEERS, APPLAUDS)
2022
01:28:31,747 --> 01:28:35,183
{\an8}Ladies and gentlemen
of the Academy,
2023
01:28:35,183 --> 01:28:38,318
{\an8}your choice is
Miss Sissy Spacek.
2024
01:28:41,024 --> 01:28:44,292
{\an8}BILL: When Richie died,
that really changed her.
2025
01:28:44,292 --> 01:28:46,796
{\an8}She was, like, really
searching herself.
2026
01:28:46,796 --> 01:28:49,797
That had an effect on her
that lasted.
2027
01:28:49,797 --> 01:28:52,568
RONA: There are people
who have the same experience
2028
01:28:52,568 --> 01:28:54,569
and then they stop living.
2029
01:28:54,569 --> 01:28:57,472
They don't know how to go on.
They don't know how to cope,
2030
01:28:57,472 --> 01:29:00,209
and they don't know
how to make the next step.
2031
01:29:00,209 --> 01:29:01,914
Yeah, well,
he would've hated that.
2032
01:29:02,780 --> 01:29:05,484
He would not have wanted
that to happen.
2033
01:29:09,854 --> 01:29:11,056
I'm still angry.
2034
01:29:12,691 --> 01:29:14,859
I haven't quite reconciled it.
2035
01:29:15,655 --> 01:29:17,225
Um...
2036
01:29:17,225 --> 01:29:20,532
I don't have
a religious belief that...
2037
01:29:22,094 --> 01:29:24,469
I can rely on that says,
"Well...
2038
01:29:26,370 --> 01:29:28,303
we are here on earth to put--
2039
01:29:28,303 --> 01:29:30,109
To prove ourselves
worthy of heaven."
2040
01:29:31,370 --> 01:29:34,646
So, I have anger
and I'm working through that.
2041
01:29:49,726 --> 01:29:51,997
♪ (SOFT INSTRUMENTAL MUSIC
PLAYING) ♪
2042
01:30:07,144 --> 01:30:09,077
{\an8}DR. ROBERT LEVINE:
In her high school yearbook,
2043
01:30:09,077 --> 01:30:11,279
{\an8}Mary wrote, "The world is ready
2044
01:30:11,279 --> 01:30:14,444
{\an8}to welcome talent
with open arms."
2045
01:30:14,444 --> 01:30:19,721
It was through talent
that she could gain acceptance.
2046
01:30:19,721 --> 01:30:22,924
She understood
that talent was the thing
2047
01:30:22,924 --> 01:30:26,128
that was going to be her life,
was going to save her life.
2048
01:30:26,128 --> 01:30:28,934
And was going to gain
the attention that she craved.
2049
01:30:30,234 --> 01:30:33,802
I wouldn't call her reserved.
She was determined.
2050
01:30:33,802 --> 01:30:36,004
Just because you have a smile
on your face
2051
01:30:36,004 --> 01:30:38,740
doesn't mean you're not ready
to go to battle.
2052
01:30:38,740 --> 01:30:41,643
The full story of Mary was both,
2053
01:30:41,643 --> 01:30:45,017
the fighter and the person
so willing to offer a smile.
2054
01:30:49,019 --> 01:30:53,592
{\an8}TREVA: How she and Robert met
was out of a fairytale.
2055
01:30:55,859 --> 01:31:01,429
{\an8}BEVERLY: Her mom and her dad
and Mary had gone to Rome.
2056
01:31:01,429 --> 01:31:04,103
She got an audience
with the Pope.
2057
01:31:05,869 --> 01:31:08,003
MARY: My mom and dad and I
were coming back from Europe
2058
01:31:08,003 --> 01:31:10,138
and the plane landed
in New York.
2059
01:31:10,138 --> 01:31:12,841
My mother was very ill
with a bronchial infection,
2060
01:31:12,841 --> 01:31:16,445
so I called my doctor
and it was Rosh Hashanah
2061
01:31:16,445 --> 01:31:18,748
He was at temple.
But there was a Dr. Levine,
2062
01:31:18,748 --> 01:31:21,183
who for whatever
his own personal reasons,
2063
01:31:21,183 --> 01:31:22,483
{\an8}was not at temple.
2064
01:31:22,483 --> 01:31:24,687
{\an8}ROBERT: I was the only
Jewish doctor working.
2065
01:31:24,687 --> 01:31:27,957
{\an8}I really didn't know
who Mary was.
2066
01:31:27,957 --> 01:31:30,625
MARY: So, we took her
over to Mount Sinai Hospital
2067
01:31:30,625 --> 01:31:32,322
and while he gave her
the once over,
2068
01:31:32,322 --> 01:31:34,864
{\an8}- I did the same to him. (LAUGHS)
- (LAUGHS)
2069
01:31:34,864 --> 01:31:36,498
{\an8}- MARY: And... and thought...
- Mary!
2070
01:31:36,498 --> 01:31:39,268
{\an8}Well, now,
exactly my very words, Sarah,
2071
01:31:39,268 --> 01:31:40,769
- "Mary!"
- Okay.
2072
01:31:40,769 --> 01:31:42,838
Because I was a few years older
than he
2073
01:31:42,838 --> 01:31:45,040
and, well, probably still am.
2074
01:31:45,040 --> 01:31:47,842
ROBERT: I went to her apartment
a couple days later
2075
01:31:47,842 --> 01:31:50,645
just to examine her mom.
Her mom was doing well.
2076
01:31:50,645 --> 01:31:53,343
So, I said, "You're clear
to go back to Los Angeles."
2077
01:31:53,343 --> 01:31:55,050
Mary then said,
"You know, Dr. Levine,
2078
01:31:55,050 --> 01:31:58,219
I haven't been feeling
that well either.
2079
01:31:58,219 --> 01:31:59,925
Could you listen to my chest?"
2080
01:32:01,525 --> 01:32:03,791
As I was leaving,
I said to Mary,
2081
01:32:03,791 --> 01:32:06,526
"If anything comes up,
just give me a call."
2082
01:32:07,198 --> 01:32:08,230
So, Mary said,
2083
01:32:08,230 --> 01:32:12,234
"Is acute loneliness
a good enough reason to call?"
2084
01:32:12,234 --> 01:32:14,269
And I said, "I can't think
of a better reason
2085
01:32:14,269 --> 01:32:15,838
to be awakened at 3:00 a.m."
2086
01:32:15,838 --> 01:32:16,705
(RINGING)
2087
01:32:16,705 --> 01:32:18,040
{\an8}BEVERLY: She called me
on the phone
2088
01:32:18,040 --> 01:32:20,741
{\an8}at 2:00 in the morning
and she said,
2089
01:32:20,741 --> 01:32:22,543
{\an8}"I have just met
the most wonderful man."
2090
01:32:22,543 --> 01:32:24,579
I said, "It's two o'clock
in the morning."
2091
01:32:24,579 --> 01:32:27,750
She said, "He's just wonderful.
He's young."
2092
01:32:27,750 --> 01:32:30,051
And I said, "So?"
2093
01:32:30,051 --> 01:32:32,721
ROBERT: So, a few days later,
3:00 a.m., she did call me,
2094
01:32:32,721 --> 01:32:35,723
and she said to me,
"Do you cook?"
2095
01:32:35,723 --> 01:32:37,993
And I lied and said, "No."
And so she said,
2096
01:32:37,993 --> 01:32:40,095
"Well, I guess we'll have to go
out to dinner."
2097
01:32:40,095 --> 01:32:42,164
BEVERLY: The minute he came
into Mary's life,
2098
01:32:42,164 --> 01:32:45,137
she fell in love
for the first time in her life.
2099
01:32:48,305 --> 01:32:50,205
I wasn't well equipped
2100
01:32:50,205 --> 01:32:53,108
to have a first date
with someone like Mary
2101
01:32:53,108 --> 01:32:55,910
because I wasn't a person
who dated at all.
2102
01:32:55,910 --> 01:32:59,214
I didn't have any moves,
if you will. I had no game.
2103
01:32:59,214 --> 01:33:01,720
I think that was what Mary
may have liked about me.
2104
01:33:04,722 --> 01:33:07,255
Welcome to Malibu East...
2105
01:33:07,255 --> 01:33:10,795
- (CROWD CHUCKLE)
- (CHUCKLES) ...here in Quehog.
2106
01:33:11,761 --> 01:33:14,330
- That's my mom.
- Beautiful downtown Quehog.
2107
01:33:14,330 --> 01:33:15,597
Are you good, Pam?
2108
01:33:15,597 --> 01:33:16,932
PAM: Yeah.
Now, I'm taking pictures.
2109
01:33:16,932 --> 01:33:18,634
- MARY: Dad, take a picture of--
- No, keep it, Pam.
2110
01:33:18,634 --> 01:33:21,106
- MARY: This is Robert.
- Hello.
2111
01:33:22,206 --> 01:33:24,539
ROBERT: So, Mary was 18 years
older than me.
2112
01:33:24,539 --> 01:33:27,676
I was an old man
by the time I met her.
2113
01:33:27,676 --> 01:33:30,012
And she was still a young woman.
2114
01:33:30,012 --> 01:33:31,781
MARY:
So, Robert is a very old soul.
2115
01:33:31,781 --> 01:33:33,148
And I'm probably the baby.
2116
01:33:33,148 --> 01:33:35,117
I'm the brat
of the relationship. (CHUCKLING)
2117
01:33:35,117 --> 01:33:38,020
But that's really not true.
Um, that's a joke.
2118
01:33:38,020 --> 01:33:41,484
Well, the truth is
that I have always depended
2119
01:33:41,484 --> 01:33:44,392
on an older, stronger influence
in my life,
2120
01:33:44,392 --> 01:33:46,028
whether it was husband
or father.
2121
01:33:46,028 --> 01:33:48,063
And there came a time
in my life,
2122
01:33:48,063 --> 01:33:50,232
coincidentally just when I met Robert
2123
01:33:50,232 --> 01:33:51,233
and the magic was there
2124
01:33:51,233 --> 01:33:54,736
that I was ready
to be my own person.
2125
01:33:54,736 --> 01:33:57,372
So, with Robert,
it was an opportunity to say,
2126
01:33:57,372 --> 01:34:01,537
"Okay, now this is truly equal.
You got nothing to fear here
2127
01:34:01,537 --> 01:34:03,945
'cause, look, how much younger
he is than you.
2128
01:34:03,945 --> 01:34:07,082
You have the experience now."
It always appears that I've been
2129
01:34:07,082 --> 01:34:09,284
vitally independent
but not truly
2130
01:34:09,284 --> 01:34:12,054
in my private life,
I was very much a person
2131
01:34:12,054 --> 01:34:14,389
who liked being directed
and led.
2132
01:34:14,389 --> 01:34:16,825
RONA: Does Mary Tyler Moore
wanna get married again?
2133
01:34:16,825 --> 01:34:20,399
I don't think so. No.
I don't see any need for that.
2134
01:34:22,599 --> 01:34:25,700
{\an8}We're doing this roast
for Mary Tyler Moore
2135
01:34:25,700 --> 01:34:29,538
{\an8}because soon
she'll be Mary Tyler Levine.
2136
01:34:29,538 --> 01:34:31,540
{\an8}(BOTH LAUGH)
2137
01:34:31,540 --> 01:34:33,408
{\an8}- You're sure?
- Yes, I am.
2138
01:34:33,408 --> 01:34:37,012
Okay. So, who will start? Betty.
2139
01:34:37,012 --> 01:34:40,783
Betty White will now start
with the roast potatoes.
2140
01:34:40,783 --> 01:34:42,484
BETTY:
It's not a roast, it isn't.
2141
01:34:42,484 --> 01:34:43,819
- It's a paean.
- BEVERLY: It's ham!
2142
01:34:43,819 --> 01:34:46,254
{\an8}BETTY: It's a paean
of... of gratitude.
2143
01:34:46,254 --> 01:34:49,689
{\an8}It's a... It's a thing
that we should all...
2144
01:34:50,495 --> 01:34:51,587
We all wanna do...
2145
01:34:51,587 --> 01:34:53,060
- Pretend to do.
- ...but we just don't know how.
2146
01:34:53,060 --> 01:34:55,964
No, we don't have to pretend,
darling. We love you very much.
2147
01:34:55,964 --> 01:34:58,667
And as far as I'm concerned,
2148
01:34:58,667 --> 01:35:01,464
I have answered
so many questions
2149
01:35:01,464 --> 01:35:04,706
about my career,
about how do I realize
2150
01:35:04,706 --> 01:35:07,042
how much Mary did for my career?
2151
01:35:07,042 --> 01:35:07,976
Oh, Christ.
2152
01:35:07,976 --> 01:35:10,378
- And I say, yes, I do!
- Forgive me, Robert.
2153
01:35:10,378 --> 01:35:11,480
I didn't mean that. (CHUCKLES)
2154
01:35:11,480 --> 01:35:13,883
BETTY: But what? No, no.
2155
01:35:13,883 --> 01:35:15,150
I'm so glad
we have holes in this.
2156
01:35:15,150 --> 01:35:16,552
I wouldn't know
where to put my arms.
2157
01:35:16,552 --> 01:35:18,223
(CROWD LAUGHING)
2158
01:35:19,156 --> 01:35:24,193
- Or my boobs. I can...
- (CROWD LAUGHING)
2159
01:35:24,193 --> 01:35:27,462
If there is any way
I could possibly help you
2160
01:35:27,462 --> 01:35:30,833
and any kind of advice
you'd like or any kind of poem.
2161
01:35:30,833 --> 01:35:32,934
(CROWD LAUGHING)
2162
01:35:32,934 --> 01:35:35,604
You just... call on your Bets.
2163
01:35:35,604 --> 01:35:39,778
(CROWD CHEERING, APPLAUDING)
2164
01:35:41,813 --> 01:35:43,779
(MARY SCREAMS)
2165
01:35:43,779 --> 01:35:45,681
- Are you all right?
- I'm okay.
2166
01:35:45,681 --> 01:35:47,850
- I certainly...
- (INDISTINCT CHATTER)
2167
01:35:47,850 --> 01:35:51,023
- That was so perfect.
- She never drinks.
2168
01:35:53,791 --> 01:35:57,026
- (CHUCKLES)
- (INDISTINCT CHATTER)
2169
01:35:57,026 --> 01:36:00,629
BEVERLY: Marge. Marge,
don't you have something to say?
2170
01:36:00,629 --> 01:36:02,197
Just a little something
to your daughter.
2171
01:36:02,197 --> 01:36:04,099
- Come on, Mom.
- BEVERLY: Come on, Mom.
2172
01:36:04,099 --> 01:36:06,935
Stand up here and say something
and be really good.
2173
01:36:06,935 --> 01:36:10,005
- (CROWD LAUGHING)
- Be the best you've ever been.
2174
01:36:10,005 --> 01:36:13,545
{\an8}Roses are red,
violets are bluish.
2175
01:36:15,012 --> 01:36:18,781
{\an8}You once were a Mick
and now you're Jewish.
2176
01:36:18,781 --> 01:36:23,388
(ALL CHEER, APPLAUD)
2177
01:36:23,888 --> 01:36:26,888
Cut. Stop.
2178
01:36:26,888 --> 01:36:29,028
He is one of those
rare doctors...
2179
01:36:30,094 --> 01:36:32,431
who truly cares about patients.
2180
01:36:36,200 --> 01:36:40,770
He sometimes can't go to sleep
without them... but not often.
2181
01:36:40,770 --> 01:36:42,107
And that's to his...
2182
01:36:44,474 --> 01:36:48,413
benefit too
that he's not a crazy person.
2183
01:36:49,079 --> 01:36:50,415
He can go to sleep...
2184
01:36:51,483 --> 01:36:52,451
and...
2185
01:36:53,551 --> 01:36:54,886
wake up in the morning.
2186
01:36:56,921 --> 01:36:58,148
Oh, shit!
2187
01:36:58,148 --> 01:37:00,890
(ALL CHUCKLE)
2188
01:37:00,890 --> 01:37:04,063
Anyway,
I think you'd all like him.
2189
01:37:05,697 --> 01:37:06,932
Now, go away.
2190
01:37:09,232 --> 01:37:12,100
REPORTER:
And one of America's favorites
had a wedding last night.
2191
01:37:12,100 --> 01:37:14,237
Mary Tyler Moore
married Robert Levine.
2192
01:37:14,237 --> 01:37:15,170
He's a doctor.
2193
01:37:15,170 --> 01:37:17,006
The wedding
was at a Fifth Avenue Hotel
2194
01:37:17,006 --> 01:37:19,078
with 250 of their friends.
2195
01:37:20,044 --> 01:37:22,543
{\an8}MANNY: Was it unlikely?
Probably.
2196
01:37:22,543 --> 01:37:27,315
{\an8}Was it unexpected? Absolutely.
But I went to the wedding.
2197
01:37:27,315 --> 01:37:30,880
{\an8}I remember saying to her,
"Well, you finally achieved
2198
01:37:30,880 --> 01:37:34,056
what every New York Jew
or Catholic mother wanted.
2199
01:37:34,056 --> 01:37:36,625
You married a doctor."
2200
01:37:36,625 --> 01:37:38,293
{\an8}BEVERLY:
Their wedding was wonderful.
2201
01:37:38,293 --> 01:37:41,997
{\an8}I was her matron of honor.
It was great.
2202
01:37:41,997 --> 01:37:47,602
{\an8}So, she had a priest
and he had a Rabbi. (CHUCKLING)
2203
01:37:47,602 --> 01:37:52,573
{\an8}BILL: Mary's father
was the most gentile person.
2204
01:37:52,573 --> 01:37:56,245
{\an8}He could walk past the synagogue
and neutralize it.
2205
01:37:56,245 --> 01:37:58,647
It would become
a Unitarian church.
2206
01:37:58,647 --> 01:38:03,952
He was standing half
under the chuppah and half out.
2207
01:38:03,952 --> 01:38:06,922
He was afraid
that if he got under that thing,
2208
01:38:06,922 --> 01:38:08,724
something was gonna happen
to him.
2209
01:38:08,724 --> 01:38:10,195
(GLASS SHATTERING)
2210
01:38:23,874 --> 01:38:25,473
{\an8}ROBERT: We rehearsed
how we would address
2211
01:38:25,473 --> 01:38:29,278
{\an8}the first dance together
and she didn't want to lead,
2212
01:38:29,278 --> 01:38:32,147
but she knew
that if I didn't step up,
2213
01:38:32,147 --> 01:38:33,648
that's what was gonna happen.
2214
01:38:33,648 --> 01:38:37,385
So, I had to figure out
how to take control.
2215
01:38:37,385 --> 01:38:41,593
But after that it all devolved
into a very special party.
2216
01:38:49,399 --> 01:38:52,034
{\an8}MANNY: I made the blessing
all for the bread
2217
01:38:52,034 --> 01:38:53,372
{\an8}with a full heart.
2218
01:38:55,039 --> 01:38:56,805
They were an odd couple.
2219
01:38:56,805 --> 01:38:58,507
She married a regular person,
2220
01:38:58,507 --> 01:39:01,309
but she was devoted to him
and he was devoted to her.
2221
01:39:01,309 --> 01:39:03,048
You can't ask for anything else.
2222
01:39:06,350 --> 01:39:08,516
He got up at 12
or one in the morning
2223
01:39:08,516 --> 01:39:13,058
and made a tuna fish sandwich.
Not for him and me but for me.
2224
01:39:14,626 --> 01:39:16,491
And it was the most loving thing
2225
01:39:16,491 --> 01:39:19,598
that anybody had ever done
for me before in my life.
2226
01:39:20,865 --> 01:39:21,963
I've been given jewels,
2227
01:39:21,963 --> 01:39:26,435
I've been given
a lot of... things that don't...
2228
01:39:26,435 --> 01:39:30,438
we all think
are obviously of value.
2229
01:39:30,438 --> 01:39:33,075
But for me, the most thing
that was of value was
2230
01:39:33,075 --> 01:39:34,713
that tuna fish sandwich...
2231
01:39:35,647 --> 01:39:37,279
that was for nothing
2232
01:39:37,279 --> 01:39:40,052
from someone,
who gave it only to me.
2233
01:39:41,851 --> 01:39:45,487
ROBERT: Loving Mary was easy.
She opened the door
2234
01:39:45,487 --> 01:39:49,394
to something about me
that I thought was shut forever.
2235
01:39:53,331 --> 01:39:55,164
{\an8}RONA:
Today, I have this feeling
2236
01:39:55,164 --> 01:39:57,099
{\an8}that I could
put my arms around you
2237
01:39:57,099 --> 01:39:58,570
and I could touch you...
2238
01:39:59,770 --> 01:40:01,937
and that you would respond.
2239
01:40:01,937 --> 01:40:04,609
But many years ago,
when we first met...
2240
01:40:05,509 --> 01:40:07,709
I think I would be scared
to death
2241
01:40:07,709 --> 01:40:10,746
- to touch Mary Tyler Moore.
- Of me? (CHUCKLES)
2242
01:40:10,746 --> 01:40:11,842
RONA: For total fear
2243
01:40:11,842 --> 01:40:14,149
that I would really
be rebuffed by you.
2244
01:40:14,149 --> 01:40:15,420
There was such...
2245
01:40:17,055 --> 01:40:18,988
- a coolness...
- I know.
2246
01:40:18,988 --> 01:40:21,051
- ...such an aloofness, Mary.
- Yeah.
2247
01:40:21,051 --> 01:40:25,294
And I see, I don't see
that Mary now. What happened?
2248
01:40:25,294 --> 01:40:27,362
I don't know.
I can't explain it.
2249
01:40:27,362 --> 01:40:30,165
I-- Maybe it's just growth,
maybe it's analysis,
2250
01:40:30,165 --> 01:40:32,167
maybe it's finally saying,
2251
01:40:32,167 --> 01:40:37,605
"All right, I'll let myself show
with all my flaws.
2252
01:40:37,605 --> 01:40:40,108
It's not the end of the world
if I'm not perfect."
2253
01:40:40,108 --> 01:40:43,678
And, uh, you know,
it was that misguided thinking.
2254
01:40:43,678 --> 01:40:47,049
I'm sure that kept the shield
around me that called--
2255
01:40:47,049 --> 01:40:49,885
That caused people
to call me the "Ice Princess."
2256
01:40:49,885 --> 01:40:51,286
I mean,
I was never cold to people
2257
01:40:51,286 --> 01:40:53,984
but I never really confided
in people
2258
01:40:53,984 --> 01:40:58,193
and I never shared
any of the... the ugly sides
2259
01:40:58,193 --> 01:41:00,563
or those things
that I thought were ugly.
2260
01:41:00,563 --> 01:41:01,963
And now I will do that.
2261
01:41:01,963 --> 01:41:04,103
- (TELEPHONE RINGING)
- Boy.
2262
01:41:06,065 --> 01:41:10,275
Hello? It's Mrs. Ford,
the president's wife.
2263
01:41:11,408 --> 01:41:13,141
MARY: The big turning point
of my life happened
2264
01:41:13,141 --> 01:41:15,376
after spending a year
with my husband, Robert,
2265
01:41:15,376 --> 01:41:20,182
who is a very tender, dear,
and very wise person.
2266
01:41:20,182 --> 01:41:22,885
I was able to see myself
and what I was doing
2267
01:41:22,885 --> 01:41:24,419
without realizing it,
2268
01:41:24,419 --> 01:41:26,488
how I was living
in the fast lane,
2269
01:41:26,488 --> 01:41:30,692
and how it just seemed to me
I had to live in the fast lane.
2270
01:41:30,692 --> 01:41:34,362
And so came that time
when I began to look at myself
2271
01:41:34,362 --> 01:41:37,336
and what I was doing
and I changed.
2272
01:41:40,805 --> 01:41:42,670
- Hello?
- Hello, Mary.
2273
01:41:42,670 --> 01:41:44,806
- This is Betty Ford.
- (AUDIENCE CHEERING, APPLAUDING)
2274
01:41:44,806 --> 01:41:47,376
{\an8}ROBERT: She had had Betty Ford
on her show.
2275
01:41:47,376 --> 01:41:49,344
{\an8}And she knew
of Mrs. Ford's treatment
2276
01:41:49,344 --> 01:41:51,146
{\an8}of people with her difficulty
with alcohol
2277
01:41:51,146 --> 01:41:54,182
{\an8}and the Betty Ford Center
in California.
2278
01:41:54,182 --> 01:41:57,786
- Hi, Betty.
- (AUDIENCE CHEERING, LAUGHING)
2279
01:41:57,786 --> 01:42:00,492
This is Mary, Queen of Scots.
2280
01:42:03,161 --> 01:42:04,759
MARY: Liza Minnelli
had just been there
2281
01:42:04,759 --> 01:42:07,429
and Elizabeth Taylor
had just been there. (CHUCKLING)
2282
01:42:07,429 --> 01:42:09,832
And I called
the Betty Ford Center
2283
01:42:09,832 --> 01:42:11,967
and I made my appointment
2284
01:42:11,967 --> 01:42:14,173
and they took me
the very next day.
2285
01:42:15,572 --> 01:42:19,478
And Robert, he said goodbye
to me at the jetway.
2286
01:42:20,744 --> 01:42:23,912
But the confidence
of having just been hugged
2287
01:42:23,912 --> 01:42:25,613
and kissed by him,
2288
01:42:25,613 --> 01:42:29,151
and the two bloody Marys
that I had on the plane,
2289
01:42:29,151 --> 01:42:32,453
got me there and began
the grand process
2290
01:42:32,453 --> 01:42:36,191
of chipping away
and chiseling down
2291
01:42:36,191 --> 01:42:40,261
to the real me
or the blob that was me.
2292
01:42:40,261 --> 01:42:44,369
That was going to become...
a person.
2293
01:42:46,004 --> 01:42:47,468
With the help of some counselors
2294
01:42:47,468 --> 01:42:49,038
{\an8}and a lot
of group therapy sessions,
2295
01:42:49,038 --> 01:42:53,041
{\an8}I was able to examine myself
and the way I handled my life
2296
01:42:53,041 --> 01:42:54,543
{\an8}and the way I handled problems,
2297
01:42:54,543 --> 01:42:58,380
{\an8}and I allowed myself
to be imperfect.
2298
01:42:58,380 --> 01:43:00,182
It was at that point
that we started looking
2299
01:43:00,182 --> 01:43:02,584
at the country house,
and looking at gardening,
2300
01:43:02,584 --> 01:43:05,790
and horses,
and... and stuff like that.
2301
01:43:07,058 --> 01:43:08,090
(BRAYS)
2302
01:43:08,090 --> 01:43:09,891
MARY:
It's nice, isn't it, Linus?
2303
01:43:09,891 --> 01:43:12,862
LINUS: Yes. Winny and Sundance.
2304
01:43:12,862 --> 01:43:14,233
MARY: Shut up, Dash.
2305
01:43:15,499 --> 01:43:19,868
{\an8}You better get used to it, Dash,
they're part of the family now.
2306
01:43:19,868 --> 01:43:23,806
{\an8}All right, so here we are
coming out of the barn
2307
01:43:23,806 --> 01:43:26,141
{\an8}and this is the new arena
2308
01:43:26,141 --> 01:43:29,078
{\an8}that eventually will have,
um, a ring in it.
2309
01:43:29,078 --> 01:43:30,145
{\an8}ROBERT: A ring?
2310
01:43:30,145 --> 01:43:31,981
{\an8}MARY: You know,
for the horses to ride.
2311
01:43:31,981 --> 01:43:34,449
{\an8}- ROBERT: It has a ring in it.
- MARY: Around the edge.
2312
01:43:34,449 --> 01:43:36,585
{\an8}- ROBERT: Look through the visor.
- MARY: Well, I can't really look
2313
01:43:36,585 --> 01:43:38,320
{\an8}through the visor
because then it makes it
2314
01:43:38,320 --> 01:43:41,089
{\an8}too bumpy. Shut up, Robert!
2315
01:43:41,089 --> 01:43:44,660
{\an8}- (BLOWS RASPBERRY)
- MARY: And just to--
(CHUCKLES) John.
2316
01:43:44,660 --> 01:43:46,022
(BRAYS)
2317
01:43:46,022 --> 01:43:47,662
{\an8}JIM: I went to see her
in Millbrook.
2318
01:43:47,662 --> 01:43:51,933
{\an8}It was nice to see her
in a bucolic setting.
2319
01:43:51,933 --> 01:43:54,606
Nothing to do, but beautiful.
It was very sweet.
2320
01:43:56,406 --> 01:43:57,439
REPORTER: Mary Tyler Moore
2321
01:43:57,439 --> 01:43:58,773
is the woman
we're talking about today.
2322
01:43:58,773 --> 01:44:00,843
She occupies her own
very unique place in the hearts
2323
01:44:00,843 --> 01:44:02,511
of television viewers
coast to coast.
2324
01:44:02,511 --> 01:44:04,545
But at home, her five horses
2325
01:44:04,545 --> 01:44:06,415
and her two dogs
don't seem to know
2326
01:44:06,415 --> 01:44:07,649
that she's one
of the great comediennes
2327
01:44:07,649 --> 01:44:10,452
of American television.
They do know, however,
2328
01:44:10,452 --> 01:44:13,788
they occupy a special place
in her heart.
2329
01:44:13,788 --> 01:44:16,124
When she needs to take a break
from whatever she's doing,
2330
01:44:16,124 --> 01:44:19,723
be it a play, movie, TV show,
or charitable endeavor.
2331
01:44:19,723 --> 01:44:20,762
Self-styled workhorse,
2332
01:44:20,762 --> 01:44:23,298
Mary Tyler Moore
works with horses.
2333
01:44:23,298 --> 01:44:25,433
Her Palomino pal is named John
2334
01:44:25,433 --> 01:44:26,869
and the Philly
who's feeling her oats
2335
01:44:26,869 --> 01:44:28,503
is Laughing Lucy.
2336
01:44:28,503 --> 01:44:31,606
This handsome albino
is Mary's pride and joy in part
2337
01:44:31,606 --> 01:44:33,542
because she's known him
since the beginning.
2338
01:44:33,542 --> 01:44:36,715
John was born in Mary's stable
just about a year ago.
2339
01:44:38,949 --> 01:44:44,719
JAMES: Your book ends
so beautifully with a metaphor
2340
01:44:44,719 --> 01:44:48,727
inspired by a blue-eyed
albino foal.
2341
01:44:49,961 --> 01:44:54,129
- What is the foal's name?
- MARY: John.
2342
01:44:54,129 --> 01:44:55,297
JAMES:
What was your brother's name?
2343
01:44:55,297 --> 01:44:56,564
MARY: John.
2344
01:44:56,564 --> 01:44:59,667
{\an8}ROBERT: Mary was largely
alienated from her brother
2345
01:44:59,667 --> 01:45:04,372
{\an8}until a number of years
after we had met and married.
2346
01:45:04,372 --> 01:45:07,910
I think she was sorry
that she missed the years
2347
01:45:07,910 --> 01:45:11,080
that she missed
of having a family.
2348
01:45:11,080 --> 01:45:14,987
MARY: My brother John,
he developed kidney cancer.
2349
01:45:16,954 --> 01:45:19,688
And he died holding my hand.
2350
01:45:19,688 --> 01:45:21,890
- MARJORIE: Okay, one last photo.
- MARY: Which one?
In the middle one.
2351
01:45:21,890 --> 01:45:23,391
MARJORIE: So you've got it?
Last picture.
2352
01:45:23,391 --> 01:45:26,065
He saw pictures of Mary
taken by the Chuppah.
2353
01:45:27,198 --> 01:45:28,763
- JOHN: To Mary.
- MARJORIE: Yeah.
2354
01:45:28,763 --> 01:45:31,536
- JOHN: I love you.
- MARJORIE: Ah, that's good.
2355
01:45:32,469 --> 01:45:35,771
{\an8}MARY: John is almost
five months old now
2356
01:45:35,771 --> 01:45:38,106
{\an8}and looking very much
like a camel.
2357
01:45:38,106 --> 01:45:39,908
{\an8}Very much like a camel.
2358
01:45:39,908 --> 01:45:42,678
{\an8}Here you go, baby.
Look how tall he is.
2359
01:45:42,678 --> 01:45:45,180
{\an8}See, he's right up to my face,
2360
01:45:45,180 --> 01:45:46,815
{\an8}which is not looking
terribly great
2361
01:45:46,815 --> 01:45:48,750
{\an8}'cause I don't have
any makeup on, all right?
2362
01:45:48,750 --> 01:45:50,956
{\an8}Normally,
I'm so much cuter than this.
2363
01:45:51,590 --> 01:45:53,455
{\an8}But anyway, John.
2364
01:45:53,455 --> 01:45:56,325
{\an8}Hi. Don't I look
so much cuter today?
2365
01:45:56,325 --> 01:45:58,460
{\an8}No, really?
Seriously. Look at my face.
2366
01:45:58,460 --> 01:46:03,766
{\an8}See, I have eye makeup on.
My hair, properly dressed.
2367
01:46:03,766 --> 01:46:06,838
{\an8}Let us proceed--
No, Dash is getting busy.
2368
01:46:08,439 --> 01:46:10,572
{\an8}So, Dash,
you wanna get this ball?
2369
01:46:10,572 --> 01:46:13,842
{\an8}Okay, watch it now.
Track it, good dog.
2370
01:46:13,842 --> 01:46:17,649
{\an8}Again, again.
Wow! An almost mid-air catch!
2371
01:46:20,251 --> 01:46:21,717
RONA: The public,
did they expect
2372
01:46:21,717 --> 01:46:24,219
too much of you,
Mary Tyler Moore?
2373
01:46:24,219 --> 01:46:28,623
I've never felt
that I was restricted.
2374
01:46:28,623 --> 01:46:31,759
And I, as you know,
I've made a lot of changes.
2375
01:46:31,759 --> 01:46:35,964
{\an8}TERRY SIMS: She wanted to leave
Mary Richards forever behind.
2376
01:46:35,964 --> 01:46:41,103
{\an8}And so, it was challenging
sometimes to find new roles.
2377
01:46:41,103 --> 01:46:42,365
{\an8}I want you to see something.
2378
01:46:42,365 --> 01:46:44,105
{\an8}- NANCY: Very nice, Pearl.
- MEL: For God's sake.
2379
01:46:44,105 --> 01:46:45,675
{\an8}I want you to consider my age
2380
01:46:45,675 --> 01:46:47,308
{\an8}and ask yourself
how I maintain this?
2381
01:46:47,308 --> 01:46:48,576
{\an8}MEL: Mom,
why are you doing this?
2382
01:46:48,576 --> 01:46:50,245
- How? I don't know. How?
- (MEL SPEAKING INDISTINCTLY)
2383
01:46:50,245 --> 01:46:51,579
I couldn't have a baby.
2384
01:46:51,579 --> 01:46:53,882
But I had to fight the laws
of gravity just the same
2385
01:46:53,882 --> 01:46:56,517
and you need the help
of a good bra.
2386
01:46:56,517 --> 01:46:57,852
And believe you me,
if you wanna keep
2387
01:46:57,852 --> 01:47:00,250
your husband's attention,
you'll get one pronto.
2388
01:47:00,250 --> 01:47:02,390
- (CROWD CHEERING)
- (INDISTINCT CHATTER)
2389
01:47:02,390 --> 01:47:04,193
I know that you've been
very active in the fight
2390
01:47:04,193 --> 01:47:08,763
- against juvenile diabetes.
- Right. Looking for the cure.
2391
01:47:08,763 --> 01:47:10,598
JAMES: You're the international
chairman, are you not?
2392
01:47:10,598 --> 01:47:12,400
Yes, of the
Juvenile Diabetes Foundation.
2393
01:47:12,400 --> 01:47:13,635
JAMES: And I believe
that your husband,
2394
01:47:13,635 --> 01:47:15,570
Dr. Robert Levine is active too,
is he not?
2395
01:47:15,570 --> 01:47:17,540
- Yes, he is indeed. Say, hello.
- JAMES: Please stand up.
2396
01:47:17,540 --> 01:47:19,912
(AUDIENCE APPLAUDING)
2397
01:47:27,918 --> 01:47:30,285
ROBERT: With the Juvenile
Diabetes Research Foundation,
2398
01:47:30,285 --> 01:47:34,389
it really was a chance for her
to be back in the ensemble,
2399
01:47:34,389 --> 01:47:36,925
to be part of a movement
2400
01:47:36,925 --> 01:47:39,895
because the status quo
was not acceptable.
2401
01:47:39,895 --> 01:47:43,231
You know, the lives
that children were living
2402
01:47:43,231 --> 01:47:45,434
in those days were shortened.
2403
01:47:45,434 --> 01:47:47,235
{\an8}BERNADETTE PETERS:
She went to Washington
2404
01:47:47,235 --> 01:47:49,204
{\an8}to talk about juvenile diabetes.
2405
01:47:49,204 --> 01:47:52,341
{\an8}She raised a lot of money.
She moved progress forward.
2406
01:47:52,341 --> 01:47:58,146
{\an8}But we cannot lose momentum.
Not now, that we are so close.
2407
01:47:58,146 --> 01:48:02,117
So, I ask you, Mr. Chairman,
members of the committee,
2408
01:48:02,117 --> 01:48:04,286
look around once more.
2409
01:48:04,286 --> 01:48:06,282
Listen to the voices
of the children
2410
01:48:06,282 --> 01:48:09,024
who will tell you
their stories today.
2411
01:48:09,024 --> 01:48:12,194
And when you retire
to your deliberations,
2412
01:48:12,194 --> 01:48:13,999
promise to remember them.
2413
01:48:16,033 --> 01:48:19,629
ROBERT: Mary helped them raise
close to two billion dollars.
2414
01:48:19,629 --> 01:48:24,840
Hope, that very much depends
on actions, you, your colleagues
2415
01:48:24,840 --> 01:48:27,279
and the administration
choose to take.
2416
01:48:28,112 --> 01:48:31,283
(CROWD APPLAUDS)
2417
01:48:41,559 --> 01:48:42,991
RONA: From the moment
you decided
2418
01:48:42,991 --> 01:48:44,626
that this is what I wanted
to be.
2419
01:48:44,626 --> 01:48:46,661
I wanna be a dancer.
I wanna be an actress.
2420
01:48:46,661 --> 01:48:48,430
Were you ever rebuffed,
were you ever turned down...
2421
01:48:48,430 --> 01:48:50,465
- Well, now, I'll tell you this.
- ...I mean--
2422
01:48:50,465 --> 01:48:52,462
I will go to my grave
thinking of myself
2423
01:48:52,462 --> 01:48:55,740
as a failed dancer,
not a successful actress.
2424
01:49:05,650 --> 01:49:08,954
♪ (WHIMSICAL MUSIC PLAYING) ♪
2425
01:49:17,261 --> 01:49:19,899
It's all a fake
and someday they'll see it.
2426
01:49:21,232 --> 01:49:22,701
It'll all go away.
2427
01:49:24,202 --> 01:49:26,038
Now, this fake...
2428
01:49:27,605 --> 01:49:30,305
was in a show
that won numerous Emmy awards.
2429
01:49:30,305 --> 01:49:34,209
This fake and Dick Van Dyke
won best acting awards
2430
01:49:34,209 --> 01:49:36,879
in 1964, 1965.
2431
01:49:36,879 --> 01:49:40,816
And this fake won
the 1965 Golden Globe Award
2432
01:49:40,816 --> 01:49:43,355
as female TV personality
of the year.
2433
01:49:44,988 --> 01:49:47,359
♪ ("NUTCRACKER SUITE"
BY DAVID HAMILTON PLAYING) ♪
2434
01:49:58,336 --> 01:50:00,105
♪ (MUSIC CONCLUDES) ♪
2435
01:50:00,971 --> 01:50:03,242
- (CHEERS)
- (AUDIENCE LAUGHING)
2436
01:50:04,842 --> 01:50:09,411
- (SPEAKS INDISTINCTLY)
- (INDISTINCT CHATTER)
2437
01:50:09,411 --> 01:50:12,447
There's your mama.
Here's your mama.
2438
01:50:12,447 --> 01:50:13,548
♪ (MELANCHOLIC MUSIC PLAYING) ♪
2439
01:50:13,548 --> 01:50:15,483
{\an8}RONDA: Mar was always
strong-willed.
2440
01:50:15,483 --> 01:50:17,685
{\an8}She never gave
that strong will up.
2441
01:50:17,685 --> 01:50:20,790
{\an8}She was very secure
in those last years
2442
01:50:20,790 --> 01:50:22,958
{\an8}when Robert was around.
2443
01:50:22,958 --> 01:50:25,827
As for what the diabetes
caused her,
2444
01:50:25,827 --> 01:50:27,963
I firmly believe
without question,
2445
01:50:27,963 --> 01:50:30,865
Mary Tyler Moore
lived ten years longer
2446
01:50:30,865 --> 01:50:33,868
than she would've lived
without the care of Robert.
2447
01:50:33,868 --> 01:50:36,939
{\an8}ROBERT: Being that person
for Mary, that loving protector
2448
01:50:36,939 --> 01:50:39,642
{\an8}included making
tuna fish sandwiches for her
2449
01:50:39,642 --> 01:50:41,009
{\an8}in the middle of the night
2450
01:50:41,009 --> 01:50:43,045
{\an8}or getting up and getting her
a glass of orange juice
2451
01:50:43,045 --> 01:50:44,680
{\an8}when her blood sugar
dropped too low,
2452
01:50:44,680 --> 01:50:46,248
{\an8}whatever it took.
2453
01:50:46,248 --> 01:50:50,853
RONDA: We saw Mary Tyler Moore
fight her way back
2454
01:50:50,853 --> 01:50:54,022
from the edge of death
so many times
2455
01:50:54,022 --> 01:50:55,991
that she should have been gone.
2456
01:50:55,991 --> 01:50:58,754
She had been in the hospital
three weeks.
2457
01:50:58,754 --> 01:51:02,898
Robert was always there
but the man would get exhausted.
2458
01:51:02,898 --> 01:51:04,900
So, he would go home at night
2459
01:51:04,900 --> 01:51:07,470
and I'd sit in the hospital room
with Mary.
2460
01:51:07,470 --> 01:51:09,038
I'd read the Bible to her.
2461
01:51:09,038 --> 01:51:11,667
I'd talk about
The Mary Tyler Moore Show,
2462
01:51:11,667 --> 01:51:14,643
and I do remember
that she leaned back and said,
2463
01:51:14,643 --> 01:51:17,749
"It feels great to remember."
2464
01:51:19,916 --> 01:51:21,917
{\an8}BEVERLY: When she was dying
in the hospital...
2465
01:51:21,917 --> 01:51:24,352
{\an8}(SNIFFLING) ...I'd crawl
into bed with her
2466
01:51:24,352 --> 01:51:25,753
{\an8}and just held hands.
2467
01:51:25,753 --> 01:51:28,558
{\an8}I couldn't stand
that she was gonna die.
2468
01:51:28,558 --> 01:51:30,395
{\an8}It's a horrible disease.
2469
01:51:31,895 --> 01:51:35,230
MARY: Hi, sweetie.
Um, I just had a low blood sugar
2470
01:51:35,230 --> 01:51:36,631
and I think we've...
2471
01:51:36,631 --> 01:51:38,461
we're on the way
to correcting it anyway
2472
01:51:38,461 --> 01:51:39,969
with some orange juice
and cookies.
2473
01:51:39,969 --> 01:51:42,274
So, gimme a call
when you can. Bye-bye.
2474
01:51:46,844 --> 01:51:48,510
REPORTER 1:
We begin with breaking news.
2475
01:51:48,510 --> 01:51:50,946
Actress Mary Tyler Moore
has passed away.
2476
01:51:50,946 --> 01:51:52,380
It is the loss of a true legend
in Hollywood.
2477
01:51:52,380 --> 01:51:56,317
She was a television icon
for a generation.
2478
01:51:56,317 --> 01:51:58,720
REPORTER 2: Mary Tyler Moore
could turn the world on
2479
01:51:58,720 --> 01:52:00,088
with her smile.
2480
01:52:00,088 --> 01:52:02,324
REPORTER 3: Her series,
The Mary Tyler Moore Show,
2481
01:52:02,324 --> 01:52:05,430
helped usher in a new era
for women on television.
2482
01:52:06,396 --> 01:52:07,895
REPORTER 4: The actress died Wednesday
2483
01:52:07,895 --> 01:52:11,136
with her husband and friends
at her side. She was 80.
2484
01:52:18,008 --> 01:52:20,042
BEVERLY: She was
something special.
2485
01:52:20,042 --> 01:52:21,909
{\an8}There was no one like Mary.
2486
01:52:21,909 --> 01:52:26,148
{\an8}She was steel. And I miss her.
I will always miss her.
2487
01:52:26,148 --> 01:52:28,748
She was just
my best friend ever.
2488
01:52:31,322 --> 01:52:35,257
{\an8}BERNADETTE: Her work
as a comedian was unparalleled.
2489
01:52:35,257 --> 01:52:36,224
{\an8}It's like a warrior,
2490
01:52:36,224 --> 01:52:38,497
someone that gets
through it all.
2491
01:52:40,298 --> 01:52:45,870
{\an8}KATIE: Mary tapped into
something that is universal.
2492
01:52:48,973 --> 01:52:53,576
{\an8}ROBERT: Mary's was a life
that need not end
2493
01:52:53,576 --> 01:52:54,947
{\an8}with her passing.
2494
01:52:55,580 --> 01:52:57,512
It's how we hold on to her
2495
01:52:57,512 --> 01:53:03,819
and what she did, and why,
and how we carry it forward...
2496
01:53:03,819 --> 01:53:06,325
that gives her life
even greater meaning.
2497
01:53:07,358 --> 01:53:10,291
{\an8}BEVERLY: She was
a wonderful symbol to womanhood
2498
01:53:10,291 --> 01:53:12,494
{\an8}to the movement
as everybody said.
2499
01:53:12,494 --> 01:53:14,329
{\an8}"But she doesn't do anything
for the movement."
2500
01:53:14,329 --> 01:53:17,232
{\an8}She did everything
for the movement.
2501
01:53:17,232 --> 01:53:20,339
- (AUDIENCE CHEERING, APPLAUDING)
- ♪ (SOFT MUSIC PLAYING) ♪
2502
01:53:21,472 --> 01:53:22,908
{\an8}(SCREAMS)
2503
01:53:25,075 --> 01:53:27,843
You have no idea
what you've meant to me.
2504
01:53:27,843 --> 01:53:29,177
OPRAH WINFREY:
There are those of us
2505
01:53:29,177 --> 01:53:30,980
who we only
had the television...
2506
01:53:30,980 --> 01:53:32,213
- MARY: Yes.
- ...for inspiration.
2507
01:53:32,213 --> 01:53:34,816
And you were one
of those women...
2508
01:53:34,816 --> 01:53:36,117
- Yeah.
- ...who was a light.
2509
01:53:36,117 --> 01:53:37,853
{\an8}JULIA: I think
Mary's legacy is that
2510
01:53:37,853 --> 01:53:41,189
{\an8}she's fundamentally shifted,
in our culture,
2511
01:53:41,189 --> 01:53:44,026
{\an8}how we perceive women
in entertainment.
2512
01:53:44,026 --> 01:53:46,929
Period. End of story.
2513
01:53:46,929 --> 01:53:48,463
{\an8}REESE WITHERSPOON:
Her ideas weren't just siloed
2514
01:53:48,463 --> 01:53:51,200
{\an8}to a character she'd played
on a television show.
2515
01:53:51,200 --> 01:53:53,168
{\an8}Women like Mary Tyler Moore
cut a path
2516
01:53:53,168 --> 01:53:55,237
that I'm standing in right now.
2517
01:53:55,237 --> 01:53:57,440
{\an8}PHYLICIA RASHAD:
For all of her positive
2518
01:53:57,440 --> 01:53:58,506
{\an8}and radiant energy,
2519
01:53:58,506 --> 01:54:02,477
she was no stranger
to adversity and challenge.
2520
01:54:02,477 --> 01:54:05,380
She surmounted those things.
She continued.
2521
01:54:05,380 --> 01:54:08,484
{\an8}LENA WAITHE: I think
she was meant to spark fire
2522
01:54:08,484 --> 01:54:10,019
{\an8}with a very delicate match.
2523
01:54:10,019 --> 01:54:11,887
{\an8}It impacted many people
that followed.
2524
01:54:11,887 --> 01:54:13,422
{\an8}Those women weren't just White
2525
01:54:13,422 --> 01:54:15,456
and they may not
just have been women.
2526
01:54:15,456 --> 01:54:17,326
ISAAC MIZRAHI:
Why did I like Mary Tyler Moore?
2527
01:54:17,326 --> 01:54:19,360
{\an8}'Cause I'm American
and I'm not a stone.
2528
01:54:19,360 --> 01:54:21,196
Because between her
and Jackie Kennedy,
2529
01:54:21,196 --> 01:54:23,999
they shaped this country,
between all of her portrayals,
2530
01:54:23,999 --> 01:54:26,001
between Laura Petrie
and Mary Richards,
2531
01:54:26,001 --> 01:54:29,404
it's what shaped
Americans' whole taste level.
2532
01:54:29,404 --> 01:54:33,275
{\an8}JAMES: I think the real answer
to who Mary has inspired
2533
01:54:33,275 --> 01:54:36,645
{\an8}is as many women
as Eleanor Roosevelt.
2534
01:54:36,645 --> 01:54:38,951
Knowing her, she deserves it.
2535
01:54:41,085 --> 01:54:46,225
- You know what? You got spunk.
- (AUDIENCE LAUGHING)
2536
01:54:46,925 --> 01:54:49,858
- Well, yes.
- I hate spunk.
2537
01:54:49,858 --> 01:54:52,260
{\an8}ED: I loved her.
And she knew it.
2538
01:54:52,260 --> 01:54:55,330
How much Mary Tyler Moore
exists in Mary Richards?
2539
01:54:55,330 --> 01:54:57,500
- Oh, a lot. Oh, a lot.
- JAMES: A lot?
2540
01:54:57,500 --> 01:54:59,034
What of you is in her?
2541
01:54:59,034 --> 01:55:02,137
MARY: My good nature,
my earnestness
2542
01:55:02,137 --> 01:55:05,044
and my belief in a happy ending.
2543
01:55:11,181 --> 01:55:13,218
I treasure you people.
2544
01:55:14,885 --> 01:55:17,056
(SOBBING)
2545
01:55:19,223 --> 01:55:21,423
{\an8}JAMES: I think
my favorite memory of her
2546
01:55:21,423 --> 01:55:24,626
{\an8}is how dear she was
when we wrote "The Last Show."
2547
01:55:24,626 --> 01:55:28,498
{\an8}We had everybody saying
their farewells on the show.
2548
01:55:28,498 --> 01:55:29,899
(SOBS, SNIFFLES)
2549
01:55:29,899 --> 01:55:31,601
I think we all need
some Kleenex.
2550
01:55:31,601 --> 01:55:32,534
(AUDIENCE LAUGHING)
2551
01:55:32,534 --> 01:55:34,606
GEORGIA ENGEL:
There's some on Mary's desk.
2552
01:55:37,842 --> 01:55:39,040
JAMES: We'd forgotten her.
2553
01:55:39,040 --> 01:55:41,043
She was the only one
we didn't give a goodbye to.
2554
01:55:41,043 --> 01:55:43,378
And her coming to the office
for the first time
2555
01:55:43,378 --> 01:55:46,882
to ask for something
in the script after seven years.
2556
01:55:46,882 --> 01:55:48,150
(AUDIENCE LAUGHING)
2557
01:55:48,150 --> 01:55:50,781
- Mr. Grant...
- (EXHALES, SNIFFLES)
2558
01:55:50,781 --> 01:55:52,955
...could I say
what I wanted to say now?
2559
01:55:52,955 --> 01:55:55,190
- Mm-hmm.
- Please?
2560
01:55:55,190 --> 01:55:57,092
(SNIFFLES) Okay, Mary.
2561
01:55:57,092 --> 01:56:00,162
JAMES: And that she was shy
and uncertain about it.
2562
01:56:00,162 --> 01:56:04,336
It just killed her.
And she had built the studio.
2563
01:56:05,336 --> 01:56:07,272
Well, I just wanted
you to know...
2564
01:56:08,773 --> 01:56:10,439
that sometimes I get concerned
2565
01:56:10,439 --> 01:56:12,377
- about being a career woman.
- (GRANT SNIFFLING)
2566
01:56:14,078 --> 01:56:16,748
I get to thinking my job
is too important to me.
2567
01:56:18,783 --> 01:56:20,452
And I tell myself...
2568
01:56:22,987 --> 01:56:24,353
that the people I work with
2569
01:56:24,353 --> 01:56:26,258
are just the people
I work with...
2570
01:56:27,258 --> 01:56:29,858
- and not my family.
- (SNIFFLES)
2571
01:56:29,858 --> 01:56:32,731
(SNIFFLES) And last night
I thought...
2572
01:56:34,165 --> 01:56:36,068
"What is a family anyway?"
2573
01:56:37,301 --> 01:56:39,338
They're just people
who make you feel...
2574
01:56:40,605 --> 01:56:41,773
less alone...
2575
01:56:43,575 --> 01:56:44,709
and really loved.
2576
01:56:46,806 --> 01:56:48,613
And that's
what you've done for me.
2577
01:56:55,219 --> 01:56:57,052
{\an8}ROBERT: It's hard to look at
2578
01:56:57,052 --> 01:56:59,121
{\an8}what others might call
our love story
2579
01:56:59,121 --> 01:57:01,189
{\an8}from an arm's length.
2580
01:57:01,189 --> 01:57:03,628
{\an8}All I know is
I carry her always.
2581
01:57:05,563 --> 01:57:07,332
{\an8}(WIND BLOWING)
2582
01:57:18,742 --> 01:57:21,813
{\an8}I'm walking literally
in wall-to-wall shit.
2583
01:57:25,382 --> 01:57:27,015
{\an8}ROBERT: Okay,
we're gonna stop now, honey.
2584
01:57:27,015 --> 01:57:28,683
{\an8}Okay.
2585
01:57:28,683 --> 01:57:32,052
{\an8}- ROBERT: Say goodbye.
- Goodbye. Bye for now.
2586
01:57:41,800 --> 01:57:43,602
♪ (MUSIC CONCLUDES) ♪
2587
01:57:46,370 --> 01:57:48,673
♪ ("DISCO LOVIN"
BY THE MELLOPHONICS PLAYING) ♪
2588
01:59:56,300 --> 01:59:58,770
♪ ("DISCO LOVIN"
BY THE MELLOPHONICS CONCLUDES) ♪