Gilbert Gottfried's Amazing Colossal Podcast - GGACP Classic: Sid and Marty Krofft

Episode Date: July 28, 2022

GGACP celebrates the birthday of legendary producer, showman and puppeteer Sid Krofft (July 30, 1929) by revisiting this classic episode from 2018 featuring Sid and his brother and longtime partner Marty Krofft. In this episode, Sid and Marty discuss their unusual creative process, the origins of “H.R. Pufnstuf” and “Land of the Lost” and the failure of their ambitious indoor theme park, “The World of Sid and Marty Krofft.” Also, Dean Martin drops the ax, Bette Davis drops an f-bomb, Walt Disney doles out advice and Liberace “dates” Sonja Henie. PLUS: Live, nude puppets! Sid Caesar to the rescue! Remembering Martha Raye! “The Brady Bunch Variety Hour”! And Sid and Marty sue McDonald’s — and win! Learn more about your ad choices. Visit megaphone.fm/adchoices

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Trivia and dirty jokes, an evening with the boys. Once is never good enough for something so fantastic. So here's another Gilbert and Franks Here's another Gilbert and Franks Here's another Gilbert and Franks Colossal classic Hi, I'm Gilbert Gottfried, and this is Gilbert Gottfried's amazing, colossal podcast. amazing, colossal podcast. I'm here with my co-host, Frank Santopadre. We're once again recording at Nutmeg with our engineer, Frank Verderosa. Our guests this week are Emmy-winning puppeteers, designers, writers, producers, and creators of some of the most inventive, original, and imaginative specials and television shows in the history of the medium.

Their outlandish, weird, and wonderful programs are too numerous to list, but we'll try. H.R. Puffin Stuff, Lidsville, Sigmund and the Sea Monsters, The Bugaloos, Far Out Space Nuts, The Lost Saucer, The Croft Super Show,

Land of the Lost, Donnie and Marie, The Brady Bunch Variety Hour, the Bay City Roller Show, Pink Lady and alongside a virtual who's who of entertainment history, Crosby, Gene Kelly, Frank Sinatra, Liberace, Mickey Rooney, Sid Caesar, and Richard Pryor, as well as our former podcast guests, Chuck McCann, Mark Evanier, Gino Conforte, and Bruce Stern. Forde and Bruce Stern. We've wanted them here ever since we started this show, and we're thrilled that they're finally with us. Please welcome two visionary artists who greatly influenced Frank's childhood and mine, as

well as the childhoods of millions of living legends, Sid and Marty Kroff. Not millions of living legends. Thank you. Millions. Now, Sid. Hey, listen. Do you know the truth of the matter?

What? All those names they mentioned, we don't have one picture with any of them. You don't? No, we do so. Now, Sid. Hey, listen. Okay. This? Oh, we do so. Now, Sid. Hey, listen. Okay.

This is Sid, and I got to tell you something. Thank you so much for having us on, because I am a huge, huge fan of yours, and you really make me laugh my ass off. I'm a huge fan. And I never heard of you. I'm a big fan of Frank's.

Thank you, Marty. So Sid makes me feel like a million bucks and you make me feel like throwing myself in front of a train. Not until this is over. The comedy stylings of Sid and Marty Kroff, ladies and gentlemen.

We are thrilled to have you both here. We can't tell you. It was going to be... Go ahead. I was just about to say, Marty and myself have been working together for 60 years. Oh, my God. And I've been in the business for 78.

So I've been around and back. 78. Wow. And you actually started it all with you being a puppeteer. Right. Well, what happened was the very first movie that I saw, full length movie, was The Wizard of Oz. And I knew that I wanted to be something in the business, not an actor. I was too tall to be a little person. I was too tall to be a little person. So I couldn't figure it out.

But the following week, someone gave my dad one ticket to see a stage show at the Faze Theater in Providence, Rhode Island. And I never saw a live show before. And he brought me to the theater. He asked this couple to bring me in. And there was a puppet act. And the puppet act had a clown. I never saw a puppet before. And the clown blew up a balloon.

And the balloon broke. And the clown got really sad, and I started to cry so loud that they threw me out of the theater. That's a beautiful story. And I sat in front of the theater, I don't know, probably hours waiting for my dad to pick me up, and people would walk by and think that I was, where's your mom, where's your dad? How do we make anybody believe that we don't do drugs?

Well, you've been fighting that rep for many, many years, Marty. No, I'm going to answer it later. Okay. But anyway. I'm here. What happened was. But anyway I'm here What happened was

You get used to it Because Marty always interrupts Sid we only have 45 minutes We've got to get out of Providence Okay And what happened was I love it You guys are like the Sunshine Boys.

Yeah. I went... Older. Okay, I went to my dad because there was a kid on our block that had the very first Superman comic book. And in the comic book, there was an ad for a marionette.

$3.95. and i went to my dad and i asked him if i could get it and he was furious you know he never hit us but he really let me have it he said three dollars 95 cents would feed your family for weeks or a month. And first of all, you're a boy and you want a dolly. And so in that same... I was born at the end of this story. Oh, my God. You guys are hilarious.

I purchased my first marionette, and that's how it all started. $3.95. That show in Rhode Island that you speak of, that was a vaudeville show, Sid? Yes, it was. How about that? Yeah. It's so funny that your father was against that one puppet, and the two of you become legends because of that.

An inauspicious beginning. Well, what happened was- 20 years later, we sold that puppet for $50,000. Did you? Wow! We didn't. I still have it. I have it. I've got it in the original box so that was 1940 when that happened wow what is what is this story and i'm sure you guys are

asked about this the the story that used to go around that you guys came from a family of puppeteers dating back to the 1700s? That was when we were doing drugs. No, no, no. No, that was a manufactured story by a publicist. I see. No, we didn't come from puppeteers. Don't blame that on a publicist. Like in ancient Rome or something.

The 1700s in Athens. The story was the publicists put out in the world that you guys came from like eight generations of puppeteers. It was bullshit. So, everybody, whenever I say I'm going to be talking to Sid and Marty, they always say, well, ask them what drugs they were on. That's the question that always comes up. Okay. Do you want me to answer that?

Do you know we do Comic-Con every single year since it opened? Uh-huh. And the fans, I can't believe it. Every time we walk out, we think nobody's going to be there. They're up against the walls. And, of course, they come to see us and they come to hear us. And we never answer that question. But last year, when I walked out, I said,

well, you know, you keep coming back and hearing the same thing. Well, now I'm going to tell you something that you've asked us all these years. Were we on drugs when we created this? And I said, well, I'm speaking for myself. If three presidents said they did not inhale, I did.

They ripped the seats out. They went nuts. I love it. But it wasn't funny. The question, when they asked me that question, I'm happy to tell them. If I did as many drugs as they thought I did, I'd be dead. Sure. So that's, you cannot, to be serious.

Right. You cannot create and produce shows stoned. The audience, now the college kids and whoever watches it, I don't know what they're doing. Right. But I'm not doing this. Maybe the writers of Pink Lady and Jeff. Yeah.

They needed more than drugs. Do you know that show is in a time capsule? Did you know that? No, that's great. It's been buried somewhere in Hollywood. We had Mark Evanier here who wrote for you guys on that show. Oh, I love Mark. He's the best.

Explain the history of Pink Lady and Jack. And Marty, why did every episode end up with them in a hot tub? Better them than me. But anyway, history. Yes. History's quick. I got a call from Fred Silverman, who said he's got two Japanese girls,

they're the biggest stars in Japan. They sold more records than the Beatles in Japan. So the first question I asked was, do they speak English? And he said to me, yeah, of course. Now they arrived in America, I should have known it was going to be bad, on December the 7th. That's hilarious.

So now we're in the office with them, and the manager said speak real slowly. Well, we couldn't talk any slower, and so they didn't speak any English. So I looked at my brother, and I said, we are in big trouble. But we somehow produced 15 minutes. The network gave us $300,000 to do a development tape. And then we barely could pull it together. I went back to New York with the tape, the show with the Fred Silverman at NBC. So I'm sitting there talking to him about the pink lady was his idea and we were praying that they wouldn't pick it up right but anyway he's he's sitting there watching the tape and his red

phone rings and it was the news department saying the head of the news was saying we got to talk to you right away they're releasing the hostages in Iran in an hour. He says to the news head, he says, I can't talk to you right now. I'm watching Pink Lady. That was how it all started. And, you know, on the first show, Sid Caesar was on the first show. Yeah, you spent a fortune on guests. There are a lot of good guests on that show.

Oh, yeah. Sid Caesar was on all of them. He did them all. Did he? He was incredible. Yeah. Yeah. Didn't help us with the ratings.

And wasn't like... I'll tell you. Go ahead. I want to tell you one story quick. Fred Silverman, the ratings are in the garbage. So Fred Silverman calls me up and says, we've got to get a big star. I said, well, I don't know if that's going to help.

So I called him back and I said, look, I can get Larry Hagman, but they want $100,000. And the rate then for a star, a guest star, was $7,500. So he says, okay, let's pay him $100,000. I said, I'm not paying it on our end. So, of course, when we finally got him and they paid, the ratings went down. Oh, my God. And wasn't Jeff Altman, he wasn't in the original concept of the show. He was thrown in once you realized you had these girls.

Sort of like Tony Orlando and Dawn, wasn't it? Yeah. We had to get somebody to speak English. Yeah. Yeah. How did Pink Lady do? Did they go back to Japan after the end of the show? Did their careers continue?

They're still thriving. They're still working. Amazing. Amazing. But they went back. I took them to Disneyland. They're still working. Amazing. Amazing. But they went back. I took them to Disneyland. Oh, my God. We had to get all the bodyguards we could.

It was amazing because they were huge, huge stars. Not in America. Well, with the Japanese at Disneyland. Oh, yeah, of course. So they were recognized by tourists. Yeah, absolutely. How about that? Sid, I'm going to go way back again to the beginning.

You joined Ringling Brothers when you were a teenager, and you were billed as the world's youngest puppeteer. Do I have this right? Oh, yeah. Did you read the book? How did you know all this? We have a crack staff. We deep research marty wow okay i was 15 years old and uh and i saw an ad in billboard billboard at that time was a circus and carnival

magazine oh before was music and there was an ad in there. I didn't tell my dad that they were looking for novelty acts for the sideshow. I never saw a circus. I didn't know what that meant. And they just opened at Madison Square Garden, the old Madison Square Garden. It was in March.

And I took some of my puppets and i had a vic troller with my music and i went down and auditioned and they said okay you got a job you can start immediately and i didn't even tell my parents i'd never been been away from home. Wow. And they said, you're going to travel all over the country. And I said, how much money so I can tell my dad? And they said, $40 a week. And I said, oh, I can't do that. That's not enough. I mean, $40 was like, we'd be millionaires. And the reason I said that is because I was scared to death, you know, to leave my home at 15 years old. But the best part of that job was he lived on the train with the tattooed lady, the giant,

and the fat lady. Oh my gosh. Well, we had more than that. It was the most frightening. Well, I asked for $50, and they gave it to me. So when I told my dad $50 a week, he said, $200 a month? Okay, quit school and go, you know, because that was a fortune when I got out of the circus two years

I traveled with them I was offered the Sonia Henney Broadway show if I could do it on ice skates at Center Theater Center Theater

he didn't get that. He didn't clarify it. Sonia Henney won the Olympics a few times. Sure. As an ice skater. Famous skater. She had this theater in New York. It was right next to Radio City Music Hall.

It was the second biggest theater in the world. They tore it down. And they had an ice show there. i went and auditioned i couldn't even skate i was holding on to my rack with my puppets and they and they hired me you had wait a minute you had to ice skate and do puppetry simultaneously yeah yeah. And they hired me. I had a week to learn how to skate. I couldn't stop, and I couldn't turn around. And guess what? Brooks Atkinson of the New York Times,

they named a Broadway theater after him. I got the headline. It said, Sid Croft's strutting puppets are masterpieces. It was like the sensation of New York. I love it. Yeah. So now, while he was doing all that, I was about 9, 10, 11 years old.

We had no cash still, so we were living in the Bronx with cockroaches. He was gone doing his act, and I lived there. We actually moved right behind Yankee, about three blocks from Yankee Stadium. So I used to, like when I was 12, I worked in a drugstore that had a lunch counter, and the hotel on the Grand Concourse had all the visiting ballplayers. So I used to walk Joe DiMaggio down the hill to the ballpark a lot. So I knew all those ballplayers when I was a kid.

Phil Rizzuto and Barrow, all those guys. All those, Bobby Brown, all those guys. Sure, Tommy Henrick, how about that? Wow. Didn't Liberace spread a rumor that he and Sonia Henney were having a hot and heavy affair? Oh, yeah, oh, yeah, yeah. Liberace was, I met him when I became a Hilton act.

The Hilton hotels all over the country had a showroom. And if you played a Hilton hotel, you were a huge, huge star. You know, the Waldorf Astoria, La Plaza. You were getting $52 a week then. Wow. Only then. Wow. Only kidding. No. And Liberace was a famous society act.

And after Judy Garland, the tour I did with Judy Garland over a year, then I toured with Liberace, and boy, are there some great stories to be told. Tell us one. Was that the show, Marty, where you said it cost $2,000 to travel the show and it was only taking in $1,500 a week? Well, it was more than that.

The loss was bigger. The loss was bigger? Yeah was bigger yeah yeah we we we never did well uh with the uh you know our show our act always cost more than we were getting because of the amount of wasn't Liberace at the time known as a big ladies man oh yeah oh definitely yeah you didn't know if those were the days where you knew nothing about a big ladies man. Oh yeah. Oh definitely. You didn't know. Those were the days where you knew nothing about Star's

personal lives. Because everything was hidden. There was not that many secrets then. And his audience the women were all there but they were like about 130 years old. Well, they used to plaster his picture on the magazines, on the celebrity magazines.

Traveling with him was very funny. I joined Sid a little bit before that, but I remember he had a house in Palm Springs, a little bit before that, but I remember he had a house in Palm Springs and I was like 19 or 20 and he had the Cadillac with the piano. It was a piano, all the piano in the back seat. It looked like a piano. And he let me drive it.

Of course, I was thinking this was a good car to pick up girls with. No way. You know, there's one thing that I want to say about Liberace. That movie that was made with Michael. Michael Douglas, yeah. Douglas, yeah. None of it was true.

I knew Liberace since 1952. He never was like that he was the coolest guy whatever he did in his personal life was so hidden and never ever discussed you know out in the open

and so but that movie just made him just a screamer and he wasn't Liberace was the greatest and and i gotta i just watched it again recently you're a kid and that was the brady bunch variety hour boy you're really jumping around yeah yeah and and that was a trip yeah it it you're really jumping around there. Yeah, yeah. That was a trip. You're watching

and it looks like hell is what looks like that. It was hell. Well, listen, they were great kids but they couldn't walk in rhythm so we had a problem. We were on there for about six or eight weeks

you know look they they tried real hard the first week we were on on abc we got a 50 share and a 27 rating that would have been number one today on the networks the second, we got a, let's see, a 25 share and a 12 rating. So the thing, the audience caught on. But we did the best we could with it. And we had a lot of guest stars on that too. A lot. So, yeah, we did. And it's so funny.

Well, they were wearing outfits that by 70s standards were ugly. that by 70s standards were ugly. And they did one that was a salute to disco. And they had Rip Taylor in a duck outfit singing Disco Duck. I love it. And rerun, doing the rerun dance. Don't you miss the 70s, guys? Oh, it. And Rerun. Doing the Rerun dance. Fred Berens. Yeah, don't you miss the 70s, guys? Oh, yeah.

Wow. Oh, come on, yeah. Is that one in the time capsule, too? I think it is. No, we have all that clothes in a warehouse. They even made a movie, right? The Brady Bunch did that movie that did well. Oh, yeah, two of them.

Yeah and they sort of copied the singing and the dancing. Absolutely. It was great. Not quite. They didn't copy that much. We just had Tim Matheson on before you guys

who played the villain in the second movie. Oh right. A very Brady sequel. Why was Eve Plum a holdout? The girl that played Jan. Well, you know why? She and her father were smart. But she didn't want to do it.

Yeah. She did not want to do it. So we got everybody but her. Then, you know, that, I don't know if that helped us or hurt us, but she didn't want to do it. But I'll tell you, that whole cast was great, you know. We had. Lawrence Henderson was.

Oh, she's great, yeah. And we had swimmers. It was wild. I mean, you watching it, didn't you laugh a lot? Yeah, nobody attempts television like that anymore. No. So ambitious. It was jaw-dropping. Well, let me tell you, I cried a lot.

Marty, you're hilarious. So, Sid, what was the unusual artistry of Sid Croft? Was that the name of the tour? That was my act. Yeah, your act. Yeah, right. It still is. And Marty, when you joined, you were doing puppets as well.

You were producing. Well, no, I wasn't producing. I was 11. No, I joined his act and then we turned it you know from a puppet act into les poupées de paris which is the adults only puppet show which got us on the map and then we kind of i'd like to say we turned it from an act into a business but uh being in this business it it's tough, right? So anyway, look, we did a lot of things. We have a lot to be grateful for.

Much more, we've done much more than the few movies and the massive amount of television. But, you know, most of our stuff was live, and we did a lot of things. Absolutely. In the 60s, we first met Walt Disney for the first time and he said to us, can I give you both some advice?

And we both like, oh my God, Walt Disney's gonna give us advice. He said, always put your names above everything that you create because someday it's going to be worth something. So last week,

or I guess it's two weeks now, thank you, Walt. Look what we got. A lifetime achievement. Yeah, I was going to ask you about that. Congratulations on that lifetime achievement, Emmy. I was going to ask you about that. Congratulations on that lifetime achievement, Emmy. I'm about to sell mine.

Already. Let's talk about, go ahead, go ahead, Marty. No, I want to kind of add to the story with Walt Disney. Yeah. We're in the polo lounge with Sid Charisse and Tony Martin. And he, and he saw Sid Charisse and her legs, you know,

she is. And he came over and he said, whatever you do, don't sell anything that you create and always fight for your name above the title. But the one thing he didn't tell us how do we save our money never how to do that he left away he left us with two good things yeah yeah we will return to gilbert godfrey's

amazing colossal podcast but first a word from our sponsor. Hear that, Quarter Pounder fans? That silence is two friends enjoying the new Creamy Parmesan and Bacon Quarter Pounder at McDonald's. Because adding crispy bacon and creamy parmesan sauce to our 100% Canadian beef

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Working together on a team with some pretty big personalities is another. It's a new season of Canada's Ultimate Challenge, and sparks are going to fly. New episode Sundays. Watch free on CBC Channel. I want to ask you about, too, the adult puppet show. And the people that... I was listening to the album, by the way,

and I can't believe that you got... All of those wonderful people are on there. Gene Kelly is on there, and Sinatra, and Pearl Bailey, and Phil Silvers, and Edie Adams, and Jane Mansfield, and Uncle Miltie. And Sammy Kahn and Jimmy Van Heusen wrote the score. And the song, Sammy Kahn and Jimmy Van Heusen. You'll appreciate this, Gilbert. There's a Frankenstein and a Dracula puppet.

And Guy Marks is doing the voice of Dracula. He's doing his Lugosi impression. Hey, Frank, how do you have time to work, watching all this stuff and reading about us? You know too much. I know that Joey Foreman also did the Karloff voice. He did the... Right, right.

Yeah. How did you get all those people? I know the thing was a big hit. Well, I'll tell you, Sammy Kahn helped us a lot because he had written for Sinatra, everybody. So we had 18 stars in that thing, from Gene Kelly to Sinatra to Dean Martin, you know, Sammy Davis Jr.

So we built puppets of all of them. And so that's how we got there. That show played to nine and a half million people. Yeah, I was going to ask you about that. That put us on the map. I'll tell you a fast story about the New York World's Fair. Yeah. Because we were the only show that survived.

So we put on the marquee of the theater, you know, all the names of these stars. And we never advertised it as puppets. So it's kind of like misleading. So I was standing out front one day and a woman walked by with a little kid and she looked at the marquee and she said that the price was like $3. She said, Frank Sinatra, Elvis Presley,

Dean Martin, Jane Mansfield, I don't want to see her, let's go. She passed up all the stars. What happened when Billy Graham came to see the show? Oh, God. That was at the Seattle World's Fair. We were sponsored by the fair, and they built this beautiful theater for us.

When you walked in to the theater, it was like a garden, and the whole audience was on a turntable. And when the show started, we revolved the people and the girls, the puppets, came out of the ceiling. There was a 30-piece orchestra, all puppets, came up on an elevator. That sounds wild. I mean, it took three months. Was there a waterfall, too, and a skating rink?

A skating rink and all those things, all those effects. How about Billy Graham? And Billy Graham was brought to see. Thank you, Marty. I was getting to it, Marty. Well, I mean, you've got only a month here. Hey, let me ask you something. God free, do you have a lawyer that I could divorce my brother?

Oh, really? He'd starve to death. You guys are great. Okay, so anyway, Billy Graham, Kennedy was supposed to cut the ribbon on opening day. Uh-huh. And something happened, and Billy Graham came instead. And he was brought to our very first show.

The big attraction of that show was after it was over and you saw this unbelievable spectacle the whole audience was invited backstage to see the naked girls the puppets in their dressing room getting dressed to leave the theater and to see this big piece of machinery you know well billy graham wouldn't come back and that night he had a rally of a hundred thousand people in the stadium and he announced that everybody in america should come and see the World's Fair. It's unbelievable. Seattle is the most beautiful place. But he said, don't go see a show called Les Poupées de Paris because the women don't wear bras.

Well, forget it. Did it boost the buzz? Forget it. We couldn't get a friend in the theater for six months. That was the biggest attraction at the Seattle Film Fair. I love it. Yeah. Well, the follow-up to that story is the next week,

Time Magazine picked it up and said, think about it, a dirty puppet show. That's why we sold out. Was Nixon in the audience? No. No, Nixon was in the audience here in L.A. Okay. When we opened out in the city of Sepulveda.

I'm not helping you. Yeah. I'm not helping you, he just said to him. That was the first place Les Poupées de Paris. Nat Hart was the maitre d' at the Flamingo Hotel, and he said he was leaving Vegas,

and he was going to build a restaurant, theater, nightclub, and that's where Les Poupées de Paris started. Yeah, I should urge your fans, people who love your television shows, to find that album, and it's online, it's on Amazon.

I mean, Pearl Bailey's great. She practically steals the record. Oh, well, here's something. Love is a boar. Love is a boar is Barbara Streisand's hit on her album People. Oh, I didn't know that. That's on People, yeah.

Tell us about being picked up by the Dean Martin Show. I know it only led to eight episodes. Well, what happened on the Dean Martin Show is I made a huge mistake. I asked Liberace, who had the biggest fan club in the world, to tell his fans to write in and say there should be more puppets. And so all these women from all over the world wrote in, and Dean got really upset and he fired us.

Wow. Because he got all this mail. I never heard that story before. Oh, bullshit. Right. What was Dino like to work with? I know he didn't rehearse famously. Never.

Never. We would rehearse all week long and then he I would tell him hey Dean stand on the left side because that all the puppeteers that were like I don't know five six eight puppeteers and in black you you know, that were crushed out on the screen. And it was very complex. And if you said left, he would go to the right. So then, you know, he would do the opposite all the time to throw you. Right. He never came to rehearsal. I'm sure, yeah.

He was infamous for that. Yeah. You did eight episodes of it. And fired. And I got to jump backwards like we do on this show all the time. Because you mentioned Sid Caesar. And what was it like working with Sid Caesar? Oh, God, I loved him.

I mean, come on. He was the pro to end all pros. There aren't performers like that anymore, you know? I mean, he did it all. He was invulnerable. He was on television. He was... Nobody could do dialects like him. No, he had it all. And he was the greatest pro ever to work with. Did you enjoy working with him, Marty? Oh, yeah. Well, he was great, but it didn't help. Anything we did with Pink Lady did not help.

It sounds like you could have gotten Julius Caesar wouldn't have helped Pink Lady. You're right. Jeff Altman, he was a trip. But I think he wound up taking drugs after this show. He's still around, Jeff. We should get him on here and ask him his experience. I see him all the time.

Do you? Yeah. So you guys had built your own shop by this point. You were starting to build the factory, and you were being... Let me see if I have the chronology right. When were you asked to design the characters and the sets for Banana Splits? Soon after you left Dean Martin? No, no.

So in between all of that, we were the creative heads of Six Flags, and we had a puppet theater in every park that sat 1,200 people, and there were nine shows a day. And they set up what we called the Show Business Factory. And in April, after we would build everything for them, we didn't want to let any of the people go. We had over 250, the greatest craftsmen on the planet working for us.

So we opened our doors to everybody. And that's when Hannah Barbera came in. Because in our puppet shows, we always had a little person that we disguised as a marionette mixed with the puppets.

Uh-huh. With strings. And the audience never knew that. The press never knew it. Interesting. Yeah. So we knew how to build people in suits.

So this is what now, 67 or 68, Joe Barbera approached you guys? Yeah, it was before Puffin stuff, right. 68. 68. Yeah. Banana splits always reminded me of sort of loosely being based on something like Laugh-In or Hell's a Poppin'. Hell's a Poppin'. Yeah.

I worked with Olsen and Johnson. You worked with Olsen and Johnson. Johnson, yeah. Yeah. We opened in a show. It never came to Broadway. It was called Pardon Our Antenna. And it was all about television. It was and it was all about television it was great

it was great I worked with Charlie Chaplin did you yeah no I had dinner with him oh yeah dinner with Chaplin well well come on tell us about that Marty well Sid has to finish the banana split story no I but I forgot what the question was. We'll get back to banana splits. Charlie Chaplin. Well, I went to... I was on a trip with my wife in Europe in the 60s, and I was with a producer and his wife,

who was a... She was in a picture called The Fox at the time she was well-known, invited us to dinner at lausanne switzerland he said i'm going to invite someone to dinner believe it or not it was charlie chaplin so he was interesting but of course i stuck my foot in it uh i said i said to the table isn't it great living in europe you're 20 minutes from everything. And Charlie Chaplin says, you're right, including the third world war. That's a funny line. And I heard a quote where

you said the secret of your success was screwing with children's minds. was screwing with children's minds. No, we never said that. Maybe Marty. Marty talks like that. I don't. Let me tell you, I definitely said that. Yeah, he said it.

I don't talk like that. Because you know why? Because we were screwing with their minds. That's why, no matter what Sid says, that's why they're still with us. I mean, these people walk down the street and I can ask them to sing a theme song and they're 45 years old and they remember it. Yeah.

Now, that's amazing to us. That's what really blows us away, that they took it with them all these years. Of course. All of our shows. You know, we did 26 titles that turned into series and 21 specials and all of them were on network, you know? So it's not like we're all over the place now on cable.

We are on Amazon and a couple of... I think Gilbert and I are two of those kids you're talking about who know specific episodes. We know the theme songs. And before Jurassic Park, you did Land of the Lost. Yeah. Lost. Yeah.

Yeah. And tell us about when you tried to build what was going to be the next Disney World. Ah, the world of Sid and Marty Croft. Sid and Marty Croft, yeah. Well, it was so amazing in Atlanta, but they promised us, the mayor of Atlanta, that they were going to clean up downtown. And people were afraid to come downtown. And that

was the Omni, which is now CNN. So the real bad part of the whole thing is, if you have something that fails, it goes away, and you never have to see it again. I watch CNN.

I have to watch that park every day. As a matter of fact, my doctor was down in Atlanta last week, and I told him to go by the escalator. We built this nine-story freestanding escalator as the entrance, which cost about a million dollars then. So he gets on the escalator. He says, which cost about a million dollars then. So he gets on the escalator. He says, it's a tour that CNN gives. It was all about Sid Mardi Gras 400 years later.

So you can't kill that with a baseball bat. No, it was amazing. You know, it had a pinball ride. You got in the pinball. A crystal mythological three-tiered carousel crystal it was it was you know we painted everybody's face and everybody working in there was a performer so there were shows just for you. The world's first indoor amusement park. That's right.

And there was a giant hotel in it and when you looked out your window you saw like ice skating going on and everything. Yeah. And that giant escalator. We had a suite in the hotel called the World of Sid and Marty Krofft Suite

and Jimmy Carter and his kid and his wife had the suite the night they won the election. They used our suite. Nice. Well, we have a picture with him. That's not a real interesting story. He came. He's going to tell it, though. He came to our, a day before we opened.

to our, a day before we opened, and all the Secret Service kept pushing him close, cussed closer and closer to him in case there was somebody that was going to shoot him, we would have gotten shot first.

Wow. I just want to ask you how working for Hanna-Barbera gave you guys the motivation to do your own thing. Well, know that it wasn't a motivation joe barbara was sorry he ever asked us to do it because nbc came to me with kellogg's uh-huh and they said why don't you do your own show next so that's how we got into puff and stuff next so And Kellogg's was on board. Yeah, oh yeah. Oh yeah, big time.

So, you know, that was our first show. And then, you know, we wound up having about four shows at the same time. So we knocked off, you know, a number of the cartoons. And you guys were smart about making presentations because you made them visual. You knew people wouldn't read just the written word. Oh, yeah. We still do that.

We go in with this big book with all the characters because nobody reads. And we make them sit around. Well, we can't fool them anymore, though. I have to tell you the truth. They'd like to read something. Okay.

But we still do the visual and didn't you work with Mick Jagger at one point no Mick Jagger we didn't work with him the Buggaloos

Lionel Bart was a real good friend of mine because I was in a show in London for a year. And Lionel Bart, when we did the Bugaloos, came and helped us audition at, where were we auditioning? I was in there, I was in London alone. No, I was.

With 2,000 kids in line. No, you weren't. It wasn't that puffing stuff with Lionel Bart? No. No. No. And Lionel Bart brought Mick Jagger when we picked the finals.

I see. Yeah, that was it. Well, tell us about pitching Puffin stuff, because this is the first time you guys went in there to pitch your own series. You know, there's one big problem with this interview. You guys know too much. You can never get out of here.

Jeez. We could pretend to know less if you like. Research didn't like the name HR Puff and stuff. I know that. No. No, they thought it was too feminine, powder puff. They thought it was too feminine, powder puff. And when we handed in the rough cut, which they insisted upon, they hated it.

And they gave us notes, 10 pages of notes. We didn't change one thing. We sweetened it, gave it back to them, and they said, oh, thank you so much. It's wonderful. And so that's what happened. You were getting 10,000 letters a week about Puffin Stuff at one point? Well, because Puffin Stuff at the end of the show said, keep those letters and postcards coming in. And, oh, my God, we had a room up to the ceiling.

We've never answered one of them. We didn't know what the hell to do. Remind Gilbert and I not to send you guys any mail. No, we did. We finally did answer it, yeah. Yeah. And you guys wound up suing McDonald's over Mayor McCheese because of his resemblance to Puff and stuff. Do we have that right, too? The most important thing in this interview is you two guys laughing.

The best audience. Are you kidding? McDonald's? Well, you know, we ultimately did what the Beverly Hills lawyers told us not to do. How could you sue McDonald's? But they had access. Ray Kroc had access. Right.

And we decided. They ripped us off. Mayor McSheese was puffing stuff. The Hamburglar was witchy poo. Yeah. And ultimately, 13 years later, it took 13 years to win the whole thing. I love it. We did.

It's the number one case of copyright law in the world. It's in all the law books right now. Interesting. I'll tell you, the one thing we're trying to figure out, maybe you can help us. We're told we have about 40 million fans dedicated. We're looking for a way to get a dollar from each one. How is that going to work? That shouldn't be too hard, Marty.

Jeez, you two guys like each other, don't you? We like you guys. You know, one of the interesting things about your shows, and we've talked, we've had people on here from cartoons. In those days, you know, Yogi Bear was Art Carney and Huckleberry Hound was Andy Griffith. And you, well, they were homages, if you will. But you guys did the same thing.

I mean, Dr. Blinky was Ed Wynn, and Ludacris Lyon was a little bit of W.C. Fields. They were tributes to the comedians you guys grew up with. Yeah, that's right. I hope you'll run out of things to know. Orson the Vulture was Frank Nelson. Right, yeah. Yes.

So they were homages, right? I'll tell you the truth. I have never ever done an interview with two guys that know this much. We're scary. You know more than we do. I gotta say, I went back and watched

some Puffin stuff prepping for the interview and it's, I don't know, than we do. I got to say, I mean, you know, I went back and watched some Puffin stuff prepping for the interview. And it's, I don't know, 40, 45 years later. You know, it's as bizarre and as original as it was then. And I'm looking at it in my 50s. And I looked at it when I was a teenager. And it's as original and as wild as it ever was. Well, one of the key parts of it, I had a very close friend who introduced me to his cousin

who was a producer, showrunner, writer. His name was Cy Rose. He did from McHale's Navy on. So he was kind of phasing out. I asked him to come and help us because I said, you know, we got an order for a series from Puff and Stuff. I sent our assistant to the bookstore

to get a book on how to produce the show because we never did it before. But Cy Rose was a master at jokes. And that's a very specialized field. And a lot of his stuff, if you look at Puffin's stuff, holds today because it's very hard to find a guy

that can write those jokes. Oh, yeah. See, I got to tell you what we really wanted when we did Puffin's stuff. We didn't want the adults to just shove their kids in front of the TV set. We wanted to capture mom or dad to watch it with them. So the jokes were very adult. And if mom laughed or dad laughed, the kid would

laugh, maybe didn't understand it. You know, nobody likes a smart door or all those, you know, goody two-shoes or all those little lines that were in Puffin's stuff. Well, we didn't know that we were producing a show that the adults, even the college kids or whatever. So I got a call one day from a manager here of the Beatles and they wanted the kinescopes because at that time, you know, I got a call one day from a manager here of the Beatles, and they wanted the kinescopes,

because at that time, you didn't have all the technology we have today. So we would send them periodically the tapes of the shows. And what was your process? When you created a show like Puffin Stuff or Bugaloos, did the two of you just get in a room together and spitball ideas spitball ideas did it start with a concept did it start with an image concept uh-huh yeah yeah well look we had this wasn't just us Walt Disney did not do all of his own stuff of course so we have we had some incredible young we always believed in the the young people with talent we didn't care about their you know their credits and all that.

Today, you can't get a writer approved unless they see what he's done. I said to Marty the other day, do you realize that we probably employed thousands, thousands of people? I'm sure. And what we get all the time to this day, I mean, famous directors and choreographers and whatever come up to us and say, when I was a kid, I watched your shows

and I really credit you guys for wanting me to get into show business just the way when I saw The Wizard of Oz I knew I had to do something. Now that I'm hearing all this, this is all the past

but this company Croft is still in action. So I show up in this office. And I'm at the gym. You know, he's at the gym. Yeah, I was going to ask you about that, Marty. You still come in five days a week?

Well, I come in for a few hours. Yeah, like 7.30 in the morning. Good for you. Until 8 o'clock at night. Because he's got nothing else to do. We've done three series in the last two years. I've done five pilots. So we're in the last two years. I've done five pilots. So we're in the action.

One series, Mud and Stuff, which is with the 23 dogs. We've got 73 episodes in two years plus. We just finished two one-hour specials. So, you know, there's a whole bunch of stuff still going on. So there's still pain in my life. Was there talk of rebooting the Paris show? Well, actually, right now, the guy that keeps wanting to do it is David Arquette.

David Arquette wants to find a, he has a club in town. He wants us to redo it. So I don't know. We'll see what happens. I see. And what was it like working with Richard Pryor? Well, that was interesting. Richard Pryor was not easy, but very talented.

And I guess the only thing I remember with him is he called me one day when I was mad at him, and I went in his dressing room. He said, I want you to handle, I'm to, I'm going to open up a black film company and I want to do a press conference. So he said, I want you to work it out. I said, I'm not a press agent. He said, no, I want you to do it. So I hired my two guys to do it. And the lady from the New York Times asked him at the press, at the, at this press moment, she said, why do you do this show for kids, Richard? Is it because you're trying to do something good

with all the drugs you did and the kids just screwed the kids up? He said, no. He said, let me tell you why I did it. He asked her, do you know Marty Krofft? She said, no. He said, well, if you knew him, you'd say yes to him in a room and get him the hell out.

That's a good answer. But Richard was great. He was great. We had, that was a real special time. We will return to Gilbert Gottfried's amazing colossal podcast after this. Tell us about somebody you work with a lot that I'll assume was easier to deal with, and that's the late great Billy Barty. Oh, he was great.

Oh, I love Billy, yeah. But when we did Puffin Stuff, it was Billy Barty that knew we needed 30-some-odd little people. And he reached out. We brought them from Germany. We brought them from all over the world because we didn't want little dwarfs. We wanted, you know, in those days, well, you call them now little people.

Yeah. And that is a story within itself, just dealing with 30 little people. More than The Wizard of Oz. Right. Did you know that the man sitting next to me lost a part to Billy Barty? Yeah. I went up for a Mel Brooks film, Life Stings. And they said, we really want you for this part.

And then at the last minute, I find out, no, they're not going with you. They're going with Billy Barty. Now, that's the funniest thing today. I wouldn't mind if I lost to George Clooney. Billy Barty had a lot of rage. Tell us about working with Charles Nelson Riley too on Lidsville.

Another guy we liked. Yeah, he was good except I lied to him. To get him, I told him the makeup would take 20 minutes it took three hours and he said it was like a polish uh what what would he what'd he say i can't help you concentration camp oh my god jeez lidsville oh god he complained all the time. He complained a lot? Yeah. Now, we got a very scary story.

Is this about Butch? Yeah, Butch Patrick, who played Eddie Munster on The Munsters. And he said he was being chased around. Oh, when he did Lidsville. By Charles Nelson Radley. He said Charles chased him around the set. Really? Really?

Yeah. I think he's... You sure he didn't mean Liberace? God, I don't remember that. Tell us something about the great Martha Ray. Oh, I loved Martha Ray. First of all, all of our villains were our stars.

You know, Benita Bizarre was a great villain. And of course, in Puffin Stuff, was she Pooh? Yep. So,

who do? Charles Nelson Reilly. But Martha Ray was a home run. What happened with Martha Ray, in the movie, the Puffin Stuff movie, we approached Betty Davis.

Oh, you did? To play Boss Witch. Wow. And Betty Davis, someone gave me her phone number in Connecticut. And she had an ad in the trades. She was looking for a job. Do you remember that? Oh, yeah.

Sure. Yeah, yeah, yeah. And so I got her on the phone, and she said, I said, we're doing a movie at Universal. And she said, what's the part?

And I said, boss witch. And she said, you want me to play a witch? Fuck you and hung up. Oh, that was good. Oh, that was good. What a story.

That was a good one. And so I sent her a handwritten letter. I never heard back from her. But the little woman that's in CSI or one of those, who is that? I'm not. Oh, Linda Hunt. Linda Hunt. Yeah.

She was another one that told me the four-letter word I offered her. She said, what do you want me to be, a mushroom? I offered her, she said, what do you want me to be, a mushroom? Gilbert would have been in a Sid and Marty show for scale. He would have been curled in the ass, believe me. Oh, my God. Yeah. What kind of character was Martha Ray?

I mean, she's, you know, her legend precedes her. Martha Ray. What do you mean by what kind of character? Yeah. I don't mean what kind of character. What kind of character was she in real life? The same way. Yeah, exactly.

She was Bonita Bizarre. Oh, yeah. But she was no trouble, though. Yeah. She was a pro. She came to work. Well, most of the talent arose that way. I knew her when she had the club

in Florida, her own club. And the second choice we had after Betty Davis was the black comedian that was on television, Marty?

Pearl Bailey? Huh? No. Okay. You know who I'm talking about? We called him. He wanted too much money. Who's that?

He played a famous black comedian. He played a character in drag. Who was that? Oh. Flip Wilson. Oh. Flip Wilson. Oh, Flip Wilson. Yeah, sure. Geraldine.

But he wanted, I don't know, $100,000 or something. He was a huge star. And that's why we settled with Martha Ray. She was a friend of mine. And what did you do, and what was it like working with a former podcast guest, the great Bruce Stern? Oh, I loved him. Marty got

Bruce. He was a friend of Marty's. Did you ever meet him? I'm only kidding. We had him on this show. He's a wonderful storyteller. Oh, he's fabulous, yeah. No, he's a pro. Yeah, he really is. He's a wonderful storyteller. Oh, he's fabulous. Yeah. No, he's a pro.

Yeah, he really is. He's out of his mind. He's a little bit. No. But we gave, actually I gave, I was in Dallas shooting in Middle Age Crazy, the movie.

Yeah, good movie. We did with him, with Ann-Margaret. Ann-Margaret, yeah. Good flick. So his daughter, Laura Dern, was about 15.

I gave her her first shot as a Dallas cowgirl. We shot it in the stadium. But Bruce was, you know, a major talent. Did you guys do, this is something interesting, did you do a live show at the Hollywood Bowl? The World of Sid and Marty? With the Brady bunch? With the Brady kids and the Puffin Stuff cast and Billy Barty. And Billy Barty, yeah.

What was that experience like? That was good. That was good. Came off without a hitch, did it? Before Marty joined me, I did a night with my act Johnny Green and the symphony orchestra

at the Hollywood Bowl so that was a second time we were there and speaking of the Brady cast I saw an interview with you Marty and you were talking about the stage mom, the Osmond's mother. I did?

You were saying that she would say, can they skate? And she'd say, how much time do you need? Can they juggle? We're talking about Donny and Marie. The Osmond's mother. By the way, another one just came

into my life, the nephew. David Osmond. Oh, really? He's talented, yeah. I wrote a talk show for them. They were very nice to me. Yeah. Oh, they were great. He's doing a show called Wonderama, which was an old show. Oh, sure. Doing it again. We had Sonny Fox,

the original host of Wonderama, here on the podcast. Really? He's going strong in his 90s. And what was it like working with Donnie and Marie? And Bruce Valanche was a writer on that show. Yeah, yeah. You know what? Let me ask you.

Do you guys ever get tired? Marty, we have no lives. Let me tell you. I'm out of steam. I got no more jokes on the paper. We'll wrap it up in five minutes. Oh, my God. Tell us about the Donnie and Marie show.

What about it? What do you remember about Donnie and Marie? I'll tell you what I remember. I told Marie last week at the Emmys. Uh-huh. She was being interviewed. I went up to her. I hadn't seen her in a long time.

I said, do you know how much money you owe me? And then she says to me, no, no, no. You owe me money. That's an actor. Really? But you know what? They're doing good. I don't know how much they get in Vegas, but they're like you know what they're doing good I don't know how much

they get in Vegas but they oh they're out there they're four walling four walling they're billionaires yeah they sell out every show

yep you guys I have to give you credit you've survived every other company in kids TV Hanna-Barbera Filmation

you're the last of the Mohicans no we survived this show. You're still going strong. Only kidding. And like the old expression, everything old is new again. Aren't they remaking so many of your old shows now? Well, they made Land of the Lost into a feature.

Yeah. I have to tell you, we made that and failed. Because you lost control over a $200 million movie. So that wound up being a Will Ferrell sketch. But you know what? We made the picture. We're going to do it. We're going to do a series with Landon Lost.

I'm out there now trying to figure out how to do it. And with that, I have Akiva Goldsman. You know that? Oh, sure. Yeah, wrote many screenplays. A Beautiful Mind. Yeah, sure. He just produced Star Trek. And we've got Jeff

Pinkner. And he did Lost. He did Spider-Man and Jumanji. So we got some good people. Today, you gotta have the writers. That's the number one thing. Oh, absolutely. What do you guys look back on?

I mean, when you look back at your body of work, are there one or two things that you're particularly proud of that you'd like to sit and watch again? I mean, I don't mean just for nostalgic purposes, but just to put it on. It's always your first show is your baby. Puff and Stuff is my favorite. And, of course, they all, you know.

Mine is Laurel and Hardy, not only. Sons of the Desert. And what was it like working with. Puff and Stuff, you know, being your first show. Look, that's what Sid said. Your first show, you know, being your first show. Look, that's it. Sid said it. Your first show, you know, you go back to. And I think we were lucky enough to have the talent

and the support people to make that show legendary. Do you want to hear my Jimmy Hoffa story? Yeah. That's a fun one. Do you have one? You know what? You have to pay for that one. Why aren't you guys writing a memoir or doing your life stories?

I don't have the time. You don't have the time. You're too busy. You know, we lost Chuck McCann recently. I used to see him. I saw him at Comic-Con. Yeah, sweet guy. We loved him, and you guys did a series with him.

Any quick stories about Chuck before we let you run off? You know, I'm at CBS every day. So there's a restaurant across the street called Jinkies. And he's there every day at lunch. He's sitting at the bar. Doesn't drink. I mean, that's where he has his lunch. So I used to see him all the time just recently.

It's too bad. That was a big loss. Yeah, we love him. Any quick stories about him? About working with him? Well, the only thing that I know Far Out Space Nuts. He was always pissed off that I never released a DVD

on Far Out Space Nuts. You know. Oh, I see. That was his big complaint. Thank you guys for doing this. Oh, God. thank you for having us on. I hope you have a big pair of scissors. So this has been Gilbert Gottfried's Amazing Colossal Podcast. I'm here with my co-host, Frank Santopadre. And we've been talking to two guys who are busy than

ever and still deny rampant drug use. Sid and Marty Croft. Guys, we thank you for making our childhood special. You're both national treasures. We appreciate it. Thanks.

You guys were great. I got you got, everybody do got, someone who cares by the name of H.R. Puffin' Stuff. Where'd you go when things get rough? H.R. Puffin' Stuff. You can't do a little cause you can't do enough. I got you got everybody you got Someone who cares by the name of H.R. Puffin stuff Where'd you go when things get rough? H.R. Puffin stuff Well, you can't do it It'll cause you can't do enough See you next week

I sure hope so