INTERVIEW — TAPE #27, SIDE #1
Q: Mark Russell Bell
M: Mark Pogachefsky (acquaintance at party)
L: Paul Locker (acquaintance at party)
N: Inna Gotman (friend in California)
W: Suzy Witten (acquaintance at party)
(TRANSCRIBER’S NOTE: I BEGAN TO TRANSCRIBE THIS TAPE SIDE ON FEBRUARY 16, 1996. ON THE FOLLOWING TUESDAY, I PURCHASED SOME LIGHTWEIGHT MONAURAL HEADPHONES TO USE WITH MY TAPE RECORDER IN TRANSCRIBING, REMOVING THE EAR PADS FOR GREATER CLARITY. ONE RECURRENT SPIRIT VOICE CAN BE DESCRIBED AS A HIGH-PITCHED FALSETTO.)
Q: I’m at Jonathan’s party (“HI MARK”) and after I arrived (“RUUUUUU”) here his stereo just stopped working. Is it his stereo or is it his CD —
M: CD player.
Q: His CD player just stopped working. (“CAN” “SO”) I guess this —
M: Who can explain it?
Q: Who can explain it. (“WHO”)
M: Who can explain it?
Q: Who can explain it.
M: Who can tell you why?
Q: It sounds like minor poltergeist activity to me. (“RRRRRRR” “POISON MARK” “NEGATIVE TYPE B”) But actually (“OOOOOOO”) we know what it really is. (“BLACK CAT”)
( . . . )
(“SPY” “I” “WE NEED”)
Q: Say your name first.
L: Paul Locker. (“OKAY”) I don’t know whether this (“SAY”) qualifies as paranormal. It certainly is (“BUTT OUT”) in no way threatening (“MEDIUM” “YOU’RE GONNA”) but (“THIS IS IMPOSSIBLE”) I was on the phone (“EARLIER”) fifteen years ago with (“ADAM” “WHO”) my dearest — (“SERGEANT”) my closest friend (“NAMED TOM SMITH”) who I’ve known since (“LOOK” “GOD” “THE FIR”) my first days. (“OH MY GOD” “HIM” “YOU LOOK”) We were a month apart. (“IT’S NOT RIGHT FOR ME DEE DEE DEE DEE DEE”) He’s still my closest friend. And out of nowhere in the middle of a conversation (“HAVE YOU VOTED”) we both said at the same time (“CALL PAUL RIGHT NOW”) the same word (“GAG PARTY”) that had absolutely (“THANK YOU MIKE”) nothing to do (“FROM” “ART GALLERY”) with what we were talking about. (“THE PRODIGY” “WHO CAN BET”) And the word was concerto. (“CLYDE” “WARREN BEATTY”) And just out of our mouths came this word. This was over the phone.
N: Boys, do you want something to drink? (“OKAY” “COALGATE” “I’LL COMPOSE ANOTHER ONE”)
L: And to this day (“THAT HAS” “IT COULD HOLD UP” “FUNNY”) this remained a bond for us. (“AN ALIEN” “WE TOOK IT”) We can say this. (“SAW IT RUN” “EXPLAIN IT”) And it shows the connection (“MY FRIEND’LL COME” “PEOPLE”) we have and yet there was absolutely (“TEE HEE”) no basis for us to have said that. (“FOR AN OPPONENT”) We were not talking about music. (“ONE OF” “WAIT”) We had not just been (“NO GOOD”) to anything. (“HAVING TO DO WITH MUSIC” “THE TELEPHONE —”)
Q: Are you a musician in your career or —? (“— FOR VASCO DA GAMA” “SORT OF UM” “NONE”)
L: No no no. I have played some instruments. (“WE-EE” “GOING”) He has played none (“NOT YET”) so it’s not even as though — (“DID HE CALL YOU” “WHAT”)
Q: What do you do? (“WHERE CAN I STAY” “DON’T” “LET GO”)
L: What’s that?
Q: What do you do? (“KISS IT” “GIVE THEM ALL WHEN THEY ASK FOR IT”)
L: By training, I’m an entertainment — (“UHH”) uh (“TROUBLE”) lawyer and I’m working on the issues of privacy and (“READ YOUR BOOK” “NO” “MR. HARDY”) electronic commerce (“AHH” “MONDAY”) matters. (“BAD LAW” “HE”) There was nothing to do with (“UH-HUH”) concerto. I have nothing to do with — (“FOLLOW THAT THING YOU LOVE” “GLITCH” “I — I WAS —” “LOOK AT HIM” “MISS” “WIT” “GOT YOUR POINT” [OVERLAPPING PREVIOUS THREE MESSAGES / CHOKING] “BAD”) that is something that stands out. It’s only a single word but it shows the bond (“WE ARE ON NOW” “WE NEED”) between two people.
Q: And then how do you know Jonathan? (“THIRTY-FIVE WOMEN” “THE RAIN”) Just a friend? (“HMMMMMM” “WELL I HOPE” “AND I”)
L: I met him at a conference (“NO”) about five months ago (“REGARDING”) — an interactive, uh (“UHH” “WHAT DID YOU SAY TO HIM”) — uh — industry (“NO WE’RE NOT”) conference. (“HE TOLD HER”) We both went to Harvard Law School together but at different times. (“YOU NEED TO CALL” “BUT UM”) Um. (“HE’S BLACK”) We’re both from New York. (“AGAIN” “FIRE IN HIS HEART” “GAY” “EVERY”) We hit it off as friends. That’s about it. (“RECENTLY I GUESS I’M THE VICE PRESIDENT OF THE” “LOVE”)
( . . . )
(“YOU’RE THE FREAK”)
Q: I’m still at Jonathan’s party (“LISTEN TO ME” “TALK ABOUT” “YOUR PAST” “TO LARRY”) and I’m speaking to (“YOU’RE FUN” “UNWITTING” “SCANDAL OF OUR NEW COMMITTEE”) a friend of one of my other friends. (“AND YOUR NEIGHBOR”) And so tell me your name. (“LOOK IT UP”)
W: Suzy. (“YOU’RE QUITE WELCOME”)
Q: Last name? (“FROM OKLAHOMA”)
W: Witten. (“NO” “POEM”)
Q: And you’re a friend of (“MICHELANGELO”) Kutleu Ataman. (“WE’RE CURRENTLY OUT OF” “CALL MGM” “FOR YOUR NEXT PROJECT”) Can you spell that name? (“NO”)
W: K — U — T — L — E — U — . A — T — A — M — A — N. (“WITTEN” “WHAT KIND OF ACCENT” “AND” “AT LEAST YOU’RE ALL RIGHT”)
Q: What’s interesting about him — (“YOU’RE GREAT” “AGNES”) well, he’s a film director. (“LOOK AGAIN”)
W: Yeah. (“THE FINAL”)
Q: He moved back to Turkey recently. (“GO CALL —”)
W: Yes. (“— AGAIN”)
Q: But he was (“YOU GOT TO HANG UP”) — a friend of James (“S” “LUFTHANSA” “BOTH OF US —” “THE RAPE” “— DRAW LIKE THAT” “DON’T WORRY ABOUT ME”) and Jonathan, my attorney. (“HOW DO YOU DO”) And his telephone number had (“WONDERFUL TALK” (“NUMBER ONE THERE”) an interesting (“ARCHANGEL” “BLUSH” “I’D LOVE TO HAVE HER”) prefix which was — (“WEST HOLLYWOOD”)
W: 666. (“YOU’D BE RIGHT” “GO NOW” “NOT IMPORTANT” “HOW DO YOU DO THAT”)
Q: And (“BROWN ROSE” “WE NEED HIM” “SSS”) LMNO Productions also had an 800 number (“YOUNG LADY” “SOMEONE”) with 666 in it.
(TRANSCRIBER’S NOTE: SEVERAL NUMBERS I GIVE HOTLINE CALLERS ALSO HAVE 666 IN THEM, ALONG WITH MY REALTOR’S DIRECT TELEPHONE NUMBER.)
(“FIND” “PAST” “YOU’RE FAMOUS” “UM”)
Q: Suzy, (“GO FASTER”) have you had any (“EVERYTHING”) strange phenomena in your life? (“FIND THE CARD” “LOVE HEARING” “MY CITY”)
W: My whole life has been (“RIGHT” “I’LL SHOW YOU”) a strange phenomenon. (“MILDRED”)
Q: I mean angels or poltergeists?
W: Of course. (“KNOW IT”) From my childhood.
Q: Really?
W: Yeah. My first conscious (“LIGHTS”) memory was (“THAT’S RIGHT”) being in Egypt (“THE HELL HOUND”) at five. (“WE’RE SUPPOSED TO DO THAT” “IN PERSON” “DON’T YOU REMEMBER”)
Q: You and me both. (“PERSONALLY ACCOUNT” “TAKE A WHILE”)
W: Well, there you go. (“CALIFORNIA” “SO” “IN THE HALL”)
Q: Is this like a (“PARTY” “NO”) — I went to (“CANDICE BERGEN”) — I had a past life regression (“GET EXTRA LIGHTS”) recently. But I haven’t gone back that far. (“SHAKE THEM UP” “RECORD”)
W: I saw light as a child. (“TV” “ACTIVITY” “MATERIAL”)
Q: What color? (“I DIDN’T DO SOMETHING BAD”)
W: White. (“YELL AT ME” “UNCLE BILL” “UM”) My parents thought there was something wrong with my eyes. (“WHOLE STAFF”)
Q: Really? (“BACKLASH” “NEWS CAMERA” “NO COMMENT”)
W: Yeah. They had my eyes checked. (“WE WANT YOU TO GIVE IT UP”)
Q: Interesting.
W: I’ve seen (“CLOCK”) light all my life. (“OPEN TODAY”)
Q: Have you ever heard any voices? (“GOLDEN GATE”)
W: Of course. (“BEND DOWN RIGHT HERE”)
Q: What do the voices say? (“WHAT YEAR” “UH” “RAPE”)
W: Well, (“SPICE” “SPY” “AND I”) I went to India and learned how to meditate (“NO”) many years ago (“DO IT”) but (“TAKING ALL THAT SHIT —” “DATE”) on — (“— FROM GOD” “DO THAT”) I remember before I went to India (“WE KNOW THAT”) I did hear a voice (“FROM THEN”) once that said, “I AM YOUR ANGEL.” (“AN OUTFIT FROM A UFO”) And I heard another voice that told me (“I NEED YOUR LOVE” “GLEN”) a name. (“PATTI” “QUIET”)
Q: What was the name? (“UP UP UP” “PATTI”)
W: Well, (“HE’S A SHOWMAN”) my name.
Q: Okay. (“ELSA LANCHESTER” “ENDANGERED”)
W: On — (“YEAH”) from another —
Q: I bet it’s great.
W: — planet. (“IT’S REALLY UPSETTING” “UH-HUH”)
Q: What do you mean? (“THEY’RE LUCKY”)
W: My name on another planet. (“OH OKAY”)
Q: What was that? (“I LOVE YOU”)
W: (phonetic) Ilwo. (“BECAUSE WE DON’T HAVE IT” “REAPPEAR” “RIGHT”)
Q: Spell it. (“RUN WITH ME”)
W: I — L — W — 0. (small laugh) (“FOUND IT” “CAN’T SPEAK”) Don’t ask me. (“THE BOOK” “MY SON” “I GOT IT”)
Q: Did you know which planet? (“TIME” “SHOW CHERYL THE POEM”)
W: Venus. (“ON SALE” “CHOOSE NOW WAIT” “ALL I NEED FROM YOU” “MOTHERFUCKER” “I KNEW THAT”) But I’m not, you know — (“ARE YOU —”) I’m very — (“— DISAPPOINTED” “NOT” “VIDEO” “HAG”) beyond that now. (“RIGHT”)
Q: Right. (“ON VIDEO ANYWAY” “WHAT”) I’m not. (“HA HA HA AHA”) No, I’m writing (“MY”) a book about my experiences. (“AM I ENJOYING IT”)
W: Uh-huh. (“RIGHT —” “I’M BORED”)
Q: I’ve had a lot too. (“— THERE” “MAZILTOV”) Have you ever had (“BUTLER”) any dreams or — (“JUNE NINE”)
W: Hmmmh? (“THE CONSULATE”)
Q: I mean strange dreams. Like (“I’LL KILL MY PARENTS”) have you ever had any (“SEX”) alien dreams? (“YES” “DOUGLAS” “CANDLE”)
W: Uh-huh. (“NEIGHBOR” [OVERLAPPING] “ARE THEY PAID FOR” / “LOVER CAN YOU TALK” / “UH-HUH”)
Q: You probably have a whole book there. (“ENOUGH DEBT”)
W: Well, I have a — my life is a book. (“ARE YOU NERVOUS”)
Q: Right.
W: It really is. (“WELL”)
Q: Our life is each a movie too. (“NO ONE”)
W: That’s true. (“WHO’S GOT THAT HOUR” “YES”)
Q: So it’s a book and a movie.
W: But, (“YEAH” “JUST SAY IN ACTING”) you know, (“THE POWER”) I’m just into consciousness — (“YOU’RE THE ONLY ONE”) is really what I’m into. (“ONE AFTER ONE”) I’m not into —
Q: Energy sources? (“I’M NOT A PERSON”)
W: I’m into inner space — (“A LOT OF”) not outer space. (“WELL THAT’S GOOD”)
Q: Right. (“DO YOU LOVE HER” “ROBERT REDFORD”)
W: I’ve spent my whole life connecting with that. (“YOU’RE VERY SPECIAL” “NOT REAL”)
Q: What do you mean by inner space? ([WOODY WOODPECKER] “HA HA HA” “PET” “HAND OF GOD” “ALI MCGRAW” “HE”)
W: What do I mean? (“THEY” “INCOME” [LOUDER] “THEY” “INCOME TAX” “BOMB”) I mean (“WE’RE ALL LEAVING HERE ALONE”) consciousness, (“SECRET AGENT”) light — (“HI” “OOOOOOO” “LOWER LEG”)
Q: Altered states of consciousness? (“PAUL” “THROW UP”)
W: Well, (“EXPLAIN” “NO PROBLEM”) you could say like on — (“THE RAIN IN HEAVEN” “USE TOUGH LOVE”) illuminated states of consciousness. (“BARBARELLA” “UH-HUH” “GO FIND A NEW NEIGHBOR” “WHAT”)
Q: So what was the most — (“HIGH”)
W: Higher states (“UH-UH”) of consciousness.
Q: Higher, yes. (“REYNA” “THERE’S A HEART” “PEPE”) A lot of love there. (“YEAH”)
W: Oh yeah. (“YOU”) Absolutely. (“JOB”) Love, peace, (“JUST FRIEND”) perfection — (“YEAH IT WAS” “YEAH”)
Q: I, myself, (“YEAH”) have an angel (“YOU HOO”) named Michael (“LOOKS THAT WAY” “THE FLY” “WE’RE HOLDING”) and He’s a warmth (“YEAH I KNOW”) that surrounds me. (“UH-HUH”) Is that like your experience? (“DARLING”)
W: Well, not exactly. (“MAY I” “BELL” “JEDI”) A lot of my friends say I’m an angel. (“DARLING”)
Q: Right. (“ENGLAND” “LUCK”)
W: So (“ANGELS THAT LOVE YOU”) my experience (“CALLING”) is just like (“HONOR” “OH YEAH”) when I go inside I just go into that energy. (“THAT’S NOT AN ENERGY” “I’LL COME AGAIN” “DEAD BROTHER”)
Q: And what do you do for a career? (“WELL DONE”)
W: I’m a writer, director, (“RIGHT” “LOOK UP”) producer, (“GOT AHEAD” “THE NOTE” “I BLESS PAUL”) filmmaker. (“THE MIND” “FORGOT ABOUT YOU THOUGH”) Like Kutleu. (“BEAUTIFUL SKIN”)
Q: Right.
W: That’s why we’re so (“YEAH”) close. (“P S”)
Q: Any recent films? (“BEAUTIFUL THOUGHT” “GIVE THEM A RIOT” “THEY’RE LATIN”)
W: No. I’m just sort of emerging. (“CALL JACK” “OLEG” “THE LETTER”) Just emerging. (“BEHIND GOD”)
Q: I haven’t had anything produced.
W: But, see, the thing is — (“I KNOW YOU TALK ABOUT” “BEDROOM”) that’s why I went to film school. (“A FILM BY” “I LOVE YOU”) Because after (“VERY OWN”) spending fourteen years living (“WE’RE GAY”) in an ashram (“I”) and meditating. (“WRAPPING PAPER” “CAUSED BY ANOTHER” “EVERYTHING”) And on, (“DON’T RUSH” “DON’T CRY” “HAMBURGER”) you know, just (“CALL JAMES” “PORTRAIT OF LISA” “NOTHING THERE” “UH-HUH” “HE KNOWS” “ARE YOU RELATED” “MONEY”) developing my (“GOOD” “THE EAGLE”) consciousness. (“THEY’RE GOOD” “YET” “CALL JAMES AGAIN”)
Q: And what would you call your religion? (“DIVORCE” “GET IT RIGHT” “COUNSELOR FOR JESUS” “BOOK END”)
W: It’s just life. (“I WALK WITH YOU” “I WORE HIM OUT”) Just life. (“FEELING” “LOVE”) But that’s why I became a filmmaker — (“TOUGH TO BE A DIRECTOR” “COOL” “THEY DON’T KNOW”) to give voice (“GIRLFRIEND”) to that (“ONE OF THOSE THINGS” “ROSIE”) self — that (“JUST TRYING TO MAKE IT” “LONGER THAN MY MAIN POINT”) truth (“CAROL BURNETT” “CURRENTLY”) inside.
Q: Do you have any favorite filmmakers? (“KUBRICK” “NO I DON’T” “IF YOU LIKE” “CALL HIM BACK” “YOU’RE DOING MY NUMBER” “EXTERIOR” “KIM BASINGER” “I BOWL WITH HER”)
W: I mean (“KING ARTHUR” “LOST MONEY” “I TRIED HIM”) I just respond to truth wherever it manifests, (“WE’LL TALK” “STRAIGHT LINE”) you know?
Q: Right. (“CALL THEM”)
W: Whoever’s expressing it. (“ONE”) It’s not like (“COFFIN” “MAKE LOVE”) one person (“CALL SOME OTHER”) can express it more consistently — (“WELL” “TELL HER” “DO IT”) so wherever it does manifest, it (“USE YOU HEART” “I LOVE YOU”) definitely (“RECENT”) speaks to me. (“IT’S A DREAM” “NO” “BUT”)
Q: I recently did a rewrite of a screenplay called (“I LOVE YOU”) “Brides,” (“TRUE TO FACT” “I LOVE YOU”) which is sort of a black comedy about a serial killer and his mother. I think Quentin Tarentino would be perfect to direct it. (“THE LION” “TELL NO”) Ummm. (“HOW CAN YOU LOOK” “LOOK INTO THE LIGHT”)
W: I’m more towards the light. (“NATHAN”) Not towards the dark. (“MAJOR” “EVIL” “I IMPLORE YOU” “ILWO”)
Q: Well, this has a very (“AHOMA”) upbeat ending. (“I WANT FLORIDA” “BECAUSE WE’LL ARGUE” “MAKE ME”) But, (“LAWN MOWER”) again, (“THE BOMB” “WHY ARE YOU DOING THIS” “IT IS”) it is a (“COMOEDIA”) black comedy. (“WHAT TIME IT IS” “YEAH I KNOW” “WONDERFUL IDEA”) You can (“I’VE DONE THINGS LIKE THAT”) say positive statements (“THEY GO WITH” “WHAT IT IS”) through (“WE’VE LOST ANOTHER ONE” “MAKE A STAND”) unusual ways.
W: Yeah — no, absolutely. (“NO IDEA” “BUT”)
Q: Especially — (“YOU HAVE A GREAT SUN PRODUCT” “OLYMPIC” “THERE’S” “GRANDMOTHER”) there’s a catharsis (“PLEASE”) aspect to it as well. (“I HOPE SO” “ANY TRAFFIC” “COME” “FROM THE WEST” “ALRIGHT” “BE HAPPY” “FOR IT TO HAPPEN”) But I’m very — (“UH-HUH” “THERAPY”) I only see movies that are very uplifting (“MOVIE”) and spiritual (“WE THOUUUUGGGGHHHHTTTT” “DO IT RIGHT”) but I’ve already written the screenplay. (“SO” “SOUNDS GOOD”) So — (“WE BOTH KNOW THAT” “I DON’T”) I probably wouldn’t write it today (“WHY” “GO TELL MICHAEL” “HE KNOWS” “I GAVE IT”) if I hadn’t already. (“DADDY”) If I was going to start today, (“SERIOUS”) I’d do something else. (“WALK AROUND”)
W: So what does (“YOUR ARC”) your angel, Michael, say to you? (“IN HELL” “DO IT WHEN” “DRIVING THERE IS” “SON OF A”)
Q: Well, (“MAKE LOVE TO ME” “AND I’LL TRY” “WELL DONE” “GIVE ME MORE” “CLEANER” “THING”) have you ever heard (“NO”) of the book Messages From Michael? (“JUST A BIT”)
W: No.
(TRANSCRIBER’S NOTE: THIS TAPE SIDE WAS VERY DIFFICULT TO TRANSCRIBE SO I TOOK A BREAK AND WALKED AROUND. THEN, I DECIDED TO WORK ON THE OTHER SIDE BEFORE CONTINUING ON THIS ONE. UNFORTUNATELY, THE TAPE EVENTUALLY BECAME TANGLED INSIDE AND OUTSIDE THE MICROCASSETTE SO IT BECAME IMPOSSIBLE FOR ME TO FINISH TRANSCRIBING THIS CASSETTE. THIS PERIOD, FEBRUARY 16 – 29, REPRESENTED THE MOST DIFFICULT WORK OF TRANSCRIBING ANY MICROCASSETTE SIDE. I WAS UNABLE TO TRANSCRIBE INTERVIEWS WITH MY FRIEND, CHARLOTTE WOLTER, WHO SHARED HER VIEWS ON COSMOLOGY; NOR WITH A PARTY ACQUAINTANCE, STEPHEN NEMETH, HEAD OF PRODUCTION OF RHINO FILMS, WHO TOLD ME ABOUT A PROJECT STARRING ARYE GROSS AND A PLAY ENTITLED “GHOST IN THE MACHINE.” I MENTIONED THE PARAMOUNT FILM “THE EXPERTS” CO-STARRING GROSS. THERE WERE ALSO SOME COMMENTS FROM JAMES ULMER AND INNA GOTMAN. JAMES HAD LOST A CARTOUCHE AFTER ARRIVING AT THE PARTY AND THAT SAME DAY CHARLOTTE COULDN’T LOCATE HER ADDRESS BOOK AND INNA COULDN’T FIND HER BLOUSE.)
Q: I’m at Jonathan’s party (“HI MARK”) and after I arrived (“RUUUUUU”) here his stereo just stopped working. Is it his stereo or is it his CD —
M: CD player.
Q: His CD player just stopped working. (“CAN” “SO”) I guess this —
M: Who can explain it?
Q: Who can explain it. (“WHO”)
M: Who can explain it?
Q: Who can explain it.
M: Who can tell you why?
Q: It sounds like minor poltergeist activity to me. (“RRRRRRR” “POISON MARK” “NEGATIVE TYPE B”) But actually (“OOOOOOO”) we know what it really is. (“BLACK CAT”)
( . . . )
(“SPY” “I” “WE NEED”)
Q: Say your name first.
L: Paul Locker. (“OKAY”) I don’t know whether this (“SAY”) qualifies as paranormal. It certainly is (“BUTT OUT”) in no way threatening (“MEDIUM” “YOU’RE GONNA”) but (“THIS IS IMPOSSIBLE”) I was on the phone (“EARLIER”) fifteen years ago with (“ADAM” “WHO”) my dearest — (“SERGEANT”) my closest friend (“NAMED TOM SMITH”) who I’ve known since (“LOOK” “GOD” “THE FIR”) my first days. (“OH MY GOD” “HIM” “YOU LOOK”) We were a month apart. (“IT’S NOT RIGHT FOR ME DEE DEE DEE DEE DEE”) He’s still my closest friend. And out of nowhere in the middle of a conversation (“HAVE YOU VOTED”) we both said at the same time (“CALL PAUL RIGHT NOW”) the same word (“GAG PARTY”) that had absolutely (“THANK YOU MIKE”) nothing to do (“FROM” “ART GALLERY”) with what we were talking about. (“THE PRODIGY” “WHO CAN BET”) And the word was concerto. (“CLYDE” “WARREN BEATTY”) And just out of our mouths came this word. This was over the phone.
N: Boys, do you want something to drink? (“OKAY” “COALGATE” “I’LL COMPOSE ANOTHER ONE”)
L: And to this day (“THAT HAS” “IT COULD HOLD UP” “FUNNY”) this remained a bond for us. (“AN ALIEN” “WE TOOK IT”) We can say this. (“SAW IT RUN” “EXPLAIN IT”) And it shows the connection (“MY FRIEND’LL COME” “PEOPLE”) we have and yet there was absolutely (“TEE HEE”) no basis for us to have said that. (“FOR AN OPPONENT”) We were not talking about music. (“ONE OF” “WAIT”) We had not just been (“NO GOOD”) to anything. (“HAVING TO DO WITH MUSIC” “THE TELEPHONE —”)
Q: Are you a musician in your career or —? (“— FOR VASCO DA GAMA” “SORT OF UM” “NONE”)
L: No no no. I have played some instruments. (“WE-EE” “GOING”) He has played none (“NOT YET”) so it’s not even as though — (“DID HE CALL YOU” “WHAT”)
Q: What do you do? (“WHERE CAN I STAY” “DON’T” “LET GO”)
L: What’s that?
Q: What do you do? (“KISS IT” “GIVE THEM ALL WHEN THEY ASK FOR IT”)
L: By training, I’m an entertainment — (“UHH”) uh (“TROUBLE”) lawyer and I’m working on the issues of privacy and (“READ YOUR BOOK” “NO” “MR. HARDY”) electronic commerce (“AHH” “MONDAY”) matters. (“BAD LAW” “HE”) There was nothing to do with (“UH-HUH”) concerto. I have nothing to do with — (“FOLLOW THAT THING YOU LOVE” “GLITCH” “I — I WAS —” “LOOK AT HIM” “MISS” “WIT” “GOT YOUR POINT” [OVERLAPPING PREVIOUS THREE MESSAGES / CHOKING] “BAD”) that is something that stands out. It’s only a single word but it shows the bond (“WE ARE ON NOW” “WE NEED”) between two people.
Q: And then how do you know Jonathan? (“THIRTY-FIVE WOMEN” “THE RAIN”) Just a friend? (“HMMMMMM” “WELL I HOPE” “AND I”)
L: I met him at a conference (“NO”) about five months ago (“REGARDING”) — an interactive, uh (“UHH” “WHAT DID YOU SAY TO HIM”) — uh — industry (“NO WE’RE NOT”) conference. (“HE TOLD HER”) We both went to Harvard Law School together but at different times. (“YOU NEED TO CALL” “BUT UM”) Um. (“HE’S BLACK”) We’re both from New York. (“AGAIN” “FIRE IN HIS HEART” “GAY” “EVERY”) We hit it off as friends. That’s about it. (“RECENTLY I GUESS I’M THE VICE PRESIDENT OF THE” “LOVE”)
( . . . )
(“YOU’RE THE FREAK”)
Q: I’m still at Jonathan’s party (“LISTEN TO ME” “TALK ABOUT” “YOUR PAST” “TO LARRY”) and I’m speaking to (“YOU’RE FUN” “UNWITTING” “SCANDAL OF OUR NEW COMMITTEE”) a friend of one of my other friends. (“AND YOUR NEIGHBOR”) And so tell me your name. (“LOOK IT UP”)
W: Suzy. (“YOU’RE QUITE WELCOME”)
Q: Last name? (“FROM OKLAHOMA”)
W: Witten. (“NO” “POEM”)
Q: And you’re a friend of (“MICHELANGELO”) Kutleu Ataman. (“WE’RE CURRENTLY OUT OF” “CALL MGM” “FOR YOUR NEXT PROJECT”) Can you spell that name? (“NO”)
W: K — U — T — L — E — U — . A — T — A — M — A — N. (“WITTEN” “WHAT KIND OF ACCENT” “AND” “AT LEAST YOU’RE ALL RIGHT”)
Q: What’s interesting about him — (“YOU’RE GREAT” “AGNES”) well, he’s a film director. (“LOOK AGAIN”)
W: Yeah. (“THE FINAL”)
Q: He moved back to Turkey recently. (“GO CALL —”)
W: Yes. (“— AGAIN”)
Q: But he was (“YOU GOT TO HANG UP”) — a friend of James (“S” “LUFTHANSA” “BOTH OF US —” “THE RAPE” “— DRAW LIKE THAT” “DON’T WORRY ABOUT ME”) and Jonathan, my attorney. (“HOW DO YOU DO”) And his telephone number had (“WONDERFUL TALK” (“NUMBER ONE THERE”) an interesting (“ARCHANGEL” “BLUSH” “I’D LOVE TO HAVE HER”) prefix which was — (“WEST HOLLYWOOD”)
W: 666. (“YOU’D BE RIGHT” “GO NOW” “NOT IMPORTANT” “HOW DO YOU DO THAT”)
Q: And (“BROWN ROSE” “WE NEED HIM” “SSS”) LMNO Productions also had an 800 number (“YOUNG LADY” “SOMEONE”) with 666 in it.
(TRANSCRIBER’S NOTE: SEVERAL NUMBERS I GIVE HOTLINE CALLERS ALSO HAVE 666 IN THEM, ALONG WITH MY REALTOR’S DIRECT TELEPHONE NUMBER.)
(“FIND” “PAST” “YOU’RE FAMOUS” “UM”)
Q: Suzy, (“GO FASTER”) have you had any (“EVERYTHING”) strange phenomena in your life? (“FIND THE CARD” “LOVE HEARING” “MY CITY”)
W: My whole life has been (“RIGHT” “I’LL SHOW YOU”) a strange phenomenon. (“MILDRED”)
Q: I mean angels or poltergeists?
W: Of course. (“KNOW IT”) From my childhood.
Q: Really?
W: Yeah. My first conscious (“LIGHTS”) memory was (“THAT’S RIGHT”) being in Egypt (“THE HELL HOUND”) at five. (“WE’RE SUPPOSED TO DO THAT” “IN PERSON” “DON’T YOU REMEMBER”)
Q: You and me both. (“PERSONALLY ACCOUNT” “TAKE A WHILE”)
W: Well, there you go. (“CALIFORNIA” “SO” “IN THE HALL”)
Q: Is this like a (“PARTY” “NO”) — I went to (“CANDICE BERGEN”) — I had a past life regression (“GET EXTRA LIGHTS”) recently. But I haven’t gone back that far. (“SHAKE THEM UP” “RECORD”)
W: I saw light as a child. (“TV” “ACTIVITY” “MATERIAL”)
Q: What color? (“I DIDN’T DO SOMETHING BAD”)
W: White. (“YELL AT ME” “UNCLE BILL” “UM”) My parents thought there was something wrong with my eyes. (“WHOLE STAFF”)
Q: Really? (“BACKLASH” “NEWS CAMERA” “NO COMMENT”)
W: Yeah. They had my eyes checked. (“WE WANT YOU TO GIVE IT UP”)
Q: Interesting.
W: I’ve seen (“CLOCK”) light all my life. (“OPEN TODAY”)
Q: Have you ever heard any voices? (“GOLDEN GATE”)
W: Of course. (“BEND DOWN RIGHT HERE”)
Q: What do the voices say? (“WHAT YEAR” “UH” “RAPE”)
W: Well, (“SPICE” “SPY” “AND I”) I went to India and learned how to meditate (“NO”) many years ago (“DO IT”) but (“TAKING ALL THAT SHIT —” “DATE”) on — (“— FROM GOD” “DO THAT”) I remember before I went to India (“WE KNOW THAT”) I did hear a voice (“FROM THEN”) once that said, “I AM YOUR ANGEL.” (“AN OUTFIT FROM A UFO”) And I heard another voice that told me (“I NEED YOUR LOVE” “GLEN”) a name. (“PATTI” “QUIET”)
Q: What was the name? (“UP UP UP” “PATTI”)
W: Well, (“HE’S A SHOWMAN”) my name.
Q: Okay. (“ELSA LANCHESTER” “ENDANGERED”)
W: On — (“YEAH”) from another —
Q: I bet it’s great.
W: — planet. (“IT’S REALLY UPSETTING” “UH-HUH”)
Q: What do you mean? (“THEY’RE LUCKY”)
W: My name on another planet. (“OH OKAY”)
Q: What was that? (“I LOVE YOU”)
W: (phonetic) Ilwo. (“BECAUSE WE DON’T HAVE IT” “REAPPEAR” “RIGHT”)
Q: Spell it. (“RUN WITH ME”)
W: I — L — W — 0. (small laugh) (“FOUND IT” “CAN’T SPEAK”) Don’t ask me. (“THE BOOK” “MY SON” “I GOT IT”)
Q: Did you know which planet? (“TIME” “SHOW CHERYL THE POEM”)
W: Venus. (“ON SALE” “CHOOSE NOW WAIT” “ALL I NEED FROM YOU” “MOTHERFUCKER” “I KNEW THAT”) But I’m not, you know — (“ARE YOU —”) I’m very — (“— DISAPPOINTED” “NOT” “VIDEO” “HAG”) beyond that now. (“RIGHT”)
Q: Right. (“ON VIDEO ANYWAY” “WHAT”) I’m not. (“HA HA HA AHA”) No, I’m writing (“MY”) a book about my experiences. (“AM I ENJOYING IT”)
W: Uh-huh. (“RIGHT —” “I’M BORED”)
Q: I’ve had a lot too. (“— THERE” “MAZILTOV”) Have you ever had (“BUTLER”) any dreams or — (“JUNE NINE”)
W: Hmmmh? (“THE CONSULATE”)
Q: I mean strange dreams. Like (“I’LL KILL MY PARENTS”) have you ever had any (“SEX”) alien dreams? (“YES” “DOUGLAS” “CANDLE”)
W: Uh-huh. (“NEIGHBOR” [OVERLAPPING] “ARE THEY PAID FOR” / “LOVER CAN YOU TALK” / “UH-HUH”)
Q: You probably have a whole book there. (“ENOUGH DEBT”)
W: Well, I have a — my life is a book. (“ARE YOU NERVOUS”)
Q: Right.
W: It really is. (“WELL”)
Q: Our life is each a movie too. (“NO ONE”)
W: That’s true. (“WHO’S GOT THAT HOUR” “YES”)
Q: So it’s a book and a movie.
W: But, (“YEAH” “JUST SAY IN ACTING”) you know, (“THE POWER”) I’m just into consciousness — (“YOU’RE THE ONLY ONE”) is really what I’m into. (“ONE AFTER ONE”) I’m not into —
Q: Energy sources? (“I’M NOT A PERSON”)
W: I’m into inner space — (“A LOT OF”) not outer space. (“WELL THAT’S GOOD”)
Q: Right. (“DO YOU LOVE HER” “ROBERT REDFORD”)
W: I’ve spent my whole life connecting with that. (“YOU’RE VERY SPECIAL” “NOT REAL”)
Q: What do you mean by inner space? ([WOODY WOODPECKER] “HA HA HA” “PET” “HAND OF GOD” “ALI MCGRAW” “HE”)
W: What do I mean? (“THEY” “INCOME” [LOUDER] “THEY” “INCOME TAX” “BOMB”) I mean (“WE’RE ALL LEAVING HERE ALONE”) consciousness, (“SECRET AGENT”) light — (“HI” “OOOOOOO” “LOWER LEG”)
Q: Altered states of consciousness? (“PAUL” “THROW UP”)
W: Well, (“EXPLAIN” “NO PROBLEM”) you could say like on — (“THE RAIN IN HEAVEN” “USE TOUGH LOVE”) illuminated states of consciousness. (“BARBARELLA” “UH-HUH” “GO FIND A NEW NEIGHBOR” “WHAT”)
Q: So what was the most — (“HIGH”)
W: Higher states (“UH-UH”) of consciousness.
Q: Higher, yes. (“REYNA” “THERE’S A HEART” “PEPE”) A lot of love there. (“YEAH”)
W: Oh yeah. (“YOU”) Absolutely. (“JOB”) Love, peace, (“JUST FRIEND”) perfection — (“YEAH IT WAS” “YEAH”)
Q: I, myself, (“YEAH”) have an angel (“YOU HOO”) named Michael (“LOOKS THAT WAY” “THE FLY” “WE’RE HOLDING”) and He’s a warmth (“YEAH I KNOW”) that surrounds me. (“UH-HUH”) Is that like your experience? (“DARLING”)
W: Well, not exactly. (“MAY I” “BELL” “JEDI”) A lot of my friends say I’m an angel. (“DARLING”)
Q: Right. (“ENGLAND” “LUCK”)
W: So (“ANGELS THAT LOVE YOU”) my experience (“CALLING”) is just like (“HONOR” “OH YEAH”) when I go inside I just go into that energy. (“THAT’S NOT AN ENERGY” “I’LL COME AGAIN” “DEAD BROTHER”)
Q: And what do you do for a career? (“WELL DONE”)
W: I’m a writer, director, (“RIGHT” “LOOK UP”) producer, (“GOT AHEAD” “THE NOTE” “I BLESS PAUL”) filmmaker. (“THE MIND” “FORGOT ABOUT YOU THOUGH”) Like Kutleu. (“BEAUTIFUL SKIN”)
Q: Right.
W: That’s why we’re so (“YEAH”) close. (“P S”)
Q: Any recent films? (“BEAUTIFUL THOUGHT” “GIVE THEM A RIOT” “THEY’RE LATIN”)
W: No. I’m just sort of emerging. (“CALL JACK” “OLEG” “THE LETTER”) Just emerging. (“BEHIND GOD”)
Q: I haven’t had anything produced.
W: But, see, the thing is — (“I KNOW YOU TALK ABOUT” “BEDROOM”) that’s why I went to film school. (“A FILM BY” “I LOVE YOU”) Because after (“VERY OWN”) spending fourteen years living (“WE’RE GAY”) in an ashram (“I”) and meditating. (“WRAPPING PAPER” “CAUSED BY ANOTHER” “EVERYTHING”) And on, (“DON’T RUSH” “DON’T CRY” “HAMBURGER”) you know, just (“CALL JAMES” “PORTRAIT OF LISA” “NOTHING THERE” “UH-HUH” “HE KNOWS” “ARE YOU RELATED” “MONEY”) developing my (“GOOD” “THE EAGLE”) consciousness. (“THEY’RE GOOD” “YET” “CALL JAMES AGAIN”)
Q: And what would you call your religion? (“DIVORCE” “GET IT RIGHT” “COUNSELOR FOR JESUS” “BOOK END”)
W: It’s just life. (“I WALK WITH YOU” “I WORE HIM OUT”) Just life. (“FEELING” “LOVE”) But that’s why I became a filmmaker — (“TOUGH TO BE A DIRECTOR” “COOL” “THEY DON’T KNOW”) to give voice (“GIRLFRIEND”) to that (“ONE OF THOSE THINGS” “ROSIE”) self — that (“JUST TRYING TO MAKE IT” “LONGER THAN MY MAIN POINT”) truth (“CAROL BURNETT” “CURRENTLY”) inside.
Q: Do you have any favorite filmmakers? (“KUBRICK” “NO I DON’T” “IF YOU LIKE” “CALL HIM BACK” “YOU’RE DOING MY NUMBER” “EXTERIOR” “KIM BASINGER” “I BOWL WITH HER”)
W: I mean (“KING ARTHUR” “LOST MONEY” “I TRIED HIM”) I just respond to truth wherever it manifests, (“WE’LL TALK” “STRAIGHT LINE”) you know?
Q: Right. (“CALL THEM”)
W: Whoever’s expressing it. (“ONE”) It’s not like (“COFFIN” “MAKE LOVE”) one person (“CALL SOME OTHER”) can express it more consistently — (“WELL” “TELL HER” “DO IT”) so wherever it does manifest, it (“USE YOU HEART” “I LOVE YOU”) definitely (“RECENT”) speaks to me. (“IT’S A DREAM” “NO” “BUT”)
Q: I recently did a rewrite of a screenplay called (“I LOVE YOU”) “Brides,” (“TRUE TO FACT” “I LOVE YOU”) which is sort of a black comedy about a serial killer and his mother. I think Quentin Tarentino would be perfect to direct it. (“THE LION” “TELL NO”) Ummm. (“HOW CAN YOU LOOK” “LOOK INTO THE LIGHT”)
W: I’m more towards the light. (“NATHAN”) Not towards the dark. (“MAJOR” “EVIL” “I IMPLORE YOU” “ILWO”)
Q: Well, this has a very (“AHOMA”) upbeat ending. (“I WANT FLORIDA” “BECAUSE WE’LL ARGUE” “MAKE ME”) But, (“LAWN MOWER”) again, (“THE BOMB” “WHY ARE YOU DOING THIS” “IT IS”) it is a (“COMOEDIA”) black comedy. (“WHAT TIME IT IS” “YEAH I KNOW” “WONDERFUL IDEA”) You can (“I’VE DONE THINGS LIKE THAT”) say positive statements (“THEY GO WITH” “WHAT IT IS”) through (“WE’VE LOST ANOTHER ONE” “MAKE A STAND”) unusual ways.
W: Yeah — no, absolutely. (“NO IDEA” “BUT”)
Q: Especially — (“YOU HAVE A GREAT SUN PRODUCT” “OLYMPIC” “THERE’S” “GRANDMOTHER”) there’s a catharsis (“PLEASE”) aspect to it as well. (“I HOPE SO” “ANY TRAFFIC” “COME” “FROM THE WEST” “ALRIGHT” “BE HAPPY” “FOR IT TO HAPPEN”) But I’m very — (“UH-HUH” “THERAPY”) I only see movies that are very uplifting (“MOVIE”) and spiritual (“WE THOUUUUGGGGHHHHTTTT” “DO IT RIGHT”) but I’ve already written the screenplay. (“SO” “SOUNDS GOOD”) So — (“WE BOTH KNOW THAT” “I DON’T”) I probably wouldn’t write it today (“WHY” “GO TELL MICHAEL” “HE KNOWS” “I GAVE IT”) if I hadn’t already. (“DADDY”) If I was going to start today, (“SERIOUS”) I’d do something else. (“WALK AROUND”)
W: So what does (“YOUR ARC”) your angel, Michael, say to you? (“IN HELL” “DO IT WHEN” “DRIVING THERE IS” “SON OF A”)
Q: Well, (“MAKE LOVE TO ME” “AND I’LL TRY” “WELL DONE” “GIVE ME MORE” “CLEANER” “THING”) have you ever heard (“NO”) of the book Messages From Michael? (“JUST A BIT”)
W: No.
(TRANSCRIBER’S NOTE: THIS TAPE SIDE WAS VERY DIFFICULT TO TRANSCRIBE SO I TOOK A BREAK AND WALKED AROUND. THEN, I DECIDED TO WORK ON THE OTHER SIDE BEFORE CONTINUING ON THIS ONE. UNFORTUNATELY, THE TAPE EVENTUALLY BECAME TANGLED INSIDE AND OUTSIDE THE MICROCASSETTE SO IT BECAME IMPOSSIBLE FOR ME TO FINISH TRANSCRIBING THIS CASSETTE. THIS PERIOD, FEBRUARY 16 – 29, REPRESENTED THE MOST DIFFICULT WORK OF TRANSCRIBING ANY MICROCASSETTE SIDE. I WAS UNABLE TO TRANSCRIBE INTERVIEWS WITH MY FRIEND, CHARLOTTE WOLTER, WHO SHARED HER VIEWS ON COSMOLOGY; NOR WITH A PARTY ACQUAINTANCE, STEPHEN NEMETH, HEAD OF PRODUCTION OF RHINO FILMS, WHO TOLD ME ABOUT A PROJECT STARRING ARYE GROSS AND A PLAY ENTITLED “GHOST IN THE MACHINE.” I MENTIONED THE PARAMOUNT FILM “THE EXPERTS” CO-STARRING GROSS. THERE WERE ALSO SOME COMMENTS FROM JAMES ULMER AND INNA GOTMAN. JAMES HAD LOST A CARTOUCHE AFTER ARRIVING AT THE PARTY AND THAT SAME DAY CHARLOTTE COULDN’T LOCATE HER ADDRESS BOOK AND INNA COULDN’T FIND HER BLOUSE.)
