Gilbert Gottfried's Amazing Colossal Podcast - GGACP Rewind: Episode #64: Josh Mostel

Episode Date: October 29, 2026

Veteran character actor Josh Mostel stops by Gilbert’s apartment to dish dirt on everyone from Art Carney to Jack Palance to Meryl Streep and to share stories from his own 40-year career as well as the life/career of his famous dad, legendary performer Zero Mostel. Also, Josh co-stars with George Segal, gets advice from Robert Mitchum, “assaults” Paul Mazursky and tries to follow in the footsteps of John Belushi. PLUS: “Stoogemania”! “The Hot Rock”! Remembering the late, great Bruno Kirby! Josh sings “King Herod’s Song”! Zero testifies before HUAC! And Marlon Brando seduces Josh’s mom! Learn more about your ad choices. Visit podcastchoices.com/adchoices

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That's it. Well, that means it's a raving success that you found two people who know about the podcast. Well, and listen, they had something to say more than the usual, how's the weather? In another year, it might go up to three. If we're lucky. Yeah. I heard, you know, you could be your own. own boss. That's true.

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That's Foss. FOSCAM, F-O-S-C-A-M-D-U-S-S-C-A-M-S-C and the number one. FOSCAM. Watch what you love anywhere. Hi, I'm Gilbert Gottfried, and this is Gilbert Gottfried's Amazing Colossil podcast, and I'm here with my co-host, Frank Santo Padre. Our guest this week is a prolific and versatile actor who's been in dozens of films, including Jesus Christ Superstores.

star, Harry and Tonto, Sophie's Choice, The Money Pit, Star 80, Big Daddy, Radio Days, and City Slickers. He's worked with everyone from Art Carney to Tom Hanks and has been directed by the likes of Woody Allen, Bob Fawsey, Paul Merserski, and Oliver Stone. He also happens to be the son of one of the great comedic actors of his generation, the legendary Zero Mastel. Please welcome a man who's played everyone from Herod the Great to Bluto Blatarski's brother, our pal, Josh Mastel. Yay! We're going to pipe in applause there.

Oh, yes. Yes. We could put it in. Mastell, ooh, woo, woo. So my first question. Yes, my first answer. Yes. Oh, this is exciting.

Has anybody in your entire life ever said to you, funny, you don't look Jewish? Gee, well, that's it. You know, I don't think that's happened. And strangely enough, I'm not Jewish. I'm not. Do I have to leave or something? Yeah, I'm sorry, we only have Jews.

Well, it is a show business. Now, so, because your father, Zara Must know. He was. He was Jewish. He was Teviya, for God's sake. But he married a woman, an Irish Catholic originally. Yeah. She claimed Judaism. She announced she was Jewish, but I think it's a little more formal than that.

You don't just get to claim Judaism. Yeah. So, you know, I always thought of myself as Jewish, but when I was doing Superstar, I was in a really obnoxious guy who was one of the apostles who was in Israeli. And his roommate told me that if they had a 6 o'clock call, He would set the alarm for four and then keep hitting snooze 12 times because he wanted to wake up every 10 minutes. He was just a really obnagination.

And I was mouth on all about saying. He says, tell me, are you Jewish, Ma's still? And I said, well, I'm half Jewish. He says, half Jewish. No, no. Is your mother Jewish? He said, well, my father is Jewish. My mother was, you're not Jewish.

Okay. If that's the way we're going to be about it. But my mother, you know, she would have been Jewish if you know if you could just sign something your mom was a chorus girl do we have that right she was seventh from the left on Rockettes uh-huh she was all legs and I have you you want to show business stories right

oh yes okay we'll take them if you got them when she died my my brother looked in her pocketbook and there was an envelope from the players club club and it said Katie you loud You left me alone with Wally Cox, underlined three times.

But you were funny, funny, funny, and your crotch is the supplest. X, X, X, X, Marlon. Wow. Oh, my God. That's enough. Should I go now? Wow. You can't leave.

That might talk. Wow. And they loved Marlon, my parents. They worship Marlon. He was one of the few people they would, you know, turn on the TV for. stuff like that. Marlon Brando and my mom, and I always said I was a son and Zero was just like, you know, the nameplate. I don't know. We could do a DNA thing. Oh, Stella!

Whatever. Something. Now, as is always the case with my guests, I have to tell them to shut up before we start recording because they have the greatest stories. Oh. And you told me a story about Groucho Marx. Oh, yeah, Groucho. In college, my best friend was Scott Johnson, and his father was Nunley Johnson, who was one of the first, you know, triple threat guys in Hollywood.

Great screen writer director. Yeah, writer director producer. And he and Groucho were great friends. And Scott got married and invited me to the wedding, and I drove cross-country to this wedding. And I was a hippie. I had hair and a beard, and I probably smelled bad. But you get you stealing.

And, you know, addressed them. Anyway, I walk into this mansion in Beverly Hills and, you know, all dirty and everything. And there's Groucho with Nunley. And Groucho looks up and sees me and says to Nunley, Is that the bride? I hope that's not the bride. Anyway, but I wasn't the bride, and those rumors are false. Okay.

What about rumors about Brando and Wally Cox? There were rumors for years. that you brought them up. I'll tell you what I heard. I mean, he loved Wally Cox. He thought Wally Cox was the funniest man. And I think Wally perhaps had more testosterone than Brando. Because Wally, I didn't know Wally Cox, but he was a, you know, a little self-assured. I mean, he wasn't the character he played.

Mr. Peepers. Yeah. Mr. Peepers, yeah. Mr. Peepers, but with an edge. And Frank and I were talking that we have something. sort of in common of having to try to follow in the footsteps of the original Saturday Night Live. In that I was in the cast right after the original cast left. Oh.

And you were in Delta House. Yes. Where you had to fill in for John Belushi. Yes. Which was an impossible job to do. And when, yes, and I did it impossibly. Yeah, I did it. I mean, you know, they paid me.

It wasn't a hit. No, he was like, yeah, because it was the TV version of Animal House. Yes. And what's funny about that is that great, bad TV writing in that they said, you, they wrote you as the younger brother of John Belushi's character in the movie. Yeah. And then later on, you would be in City Slickers 2, meeting the totally unknown, untalked about, a twin brother of Jack Palentian. Yeah, Curly's brother. Right.

I got, I got some Jack Balant stories. Oh, absolutely. They're a little dirty. Oh, I'll be back after this moment. No. Oh, please. So he's a weird guy, but he's a wonderful. actor and we were sitting on city slickers one

and somebody mentioned Morland Branda I'm not Marlon Branda where's my head Marilyn Monroe and he said I used to know Marilyn I said Jiver fucker yeah you know and he went I remember once I was in L.A. and it was teeming with rain

rain was pouring down at about three at night the phone rang so I knew it and who it must be and I picked up the phone and said, hello, Marilyn. And she said, oh, Jack, Jack, have you seen it outside? It's so wonderful. I said, I noticed it's raining.

She was, come on over, Jack. We'll go for a drive. Come on over. So I got in my car, and I went, and I went over to Marilyn's place, and she came out, and she was wearing this tiny white dress. And she jumped in the car, and we started driving up. around where the Hollywood sign is and there was a big puddle we were all alone she said jack jack stop here and i stopped and she jumped out of the car and ran into this puddle in front of the

headlights of the car twirling around with the rain pouring down on her in that little white dress that's the whole story it's a shaggy shaggy shaggy shaggy dog story, but it's one more of Jack Palance. I had always heard that Jack and my father had gotten to a fist fight. Oh, they were in panic in the streets together.

They were in the streets together. You're up on your stuff. Well, I do my best. Aside for the peyote reference. Yeah. You spent too much time watching movies instead of creating your mind. Absolutely, buddy. Absolutely. Anyway, So, I said to Jack, so I always heard that you and Zero got into a fist fight.

And Jack said, what? Who told you that? I said, no, I just heard it from a bunch of people. He said, no, no, I loved your dad. I loved him. I remember we were on the set, and I had this prop gun in my hand. You know, it wasn't loaded, and I was twirling around, and Zero comes over. and says, hey, Jack, you want me to give you a target?

And I said, sure. And he drops his pants. And he puts that big, beautiful pink ass right in front of me. So just kidding around, I shot him with this empty prop gun, but the damn thing was loaded. And Zero starts screaming. you shot me in the ass. You shot me in the ass. Oh, yeah, I loved your old man.

That's the other shaggy dog story from Jack Palance. Great stuff. But back to Delta House just for a second. And then we'll move on past it. How did they approach? Gilbert and I were talking about it before you got here. How did they approach you about this? Do you immediately say how the hell?

am I going to follow this? Of course not. I said, when do I show up? And how much am I getting paid? No, I auditioned. I knew I was going to get the part because they had me read the Belushi part. They wanted Belushi. Yeah, right.

Sure. And everybody looked like Belushi except me. You know, I just dressed the way I normally do, which is sub-Belushi. And this audition, it's the thing where he says, follow me, and he runs out, and nobody follows him. You know, he gives a big speech. And I gave the big speech, and I was really good. And I gave the big speech, and I ran out of the room, and I slammed the door behind me. And then I heard the producer going, come back!

And then I knew I had the part. Nice. Yeah. There were three series that season. Three Frat House shows based on Animal House. It's the damn wife of the producer. That's the fault. Who's the fault is?

Because she told Maddie Simons. Maddie Simmons, yeah. Simmons. She told Maddie's one of the founders. She told Maddie says, oh, we can't. You can't use Delta. You can't use Animal House name because what if we make a lot of them? because what if we make a sequel?

It'll take back away from the sequel. He goes, oh, well, I married you. I might as well listen to you or something. And they called it Delta House. And, you know, there were three series. We were the one that had all the actors. Yeah, you had Stephen First and John Vernon. Yeah, yeah.

Bruce McGill, D-Day. Yeah. And, you know, but... You had the best chance of the three. We had the best chance. And no, it didn't work. And we're still waiting for the sequel. But I thought they should have called us Animal House

because, I don't know. That's what it was. That's what it was. Yeah, yeah, yeah, yeah, yeah, yeah, yeah. They didn't call the yacht couple by a different name when they did the series. Yeah, the strange ones. Yeah.

You know, or the misaligned couple. You know, just so. I think Walter Mathau one time said that some woman came up to him in the street and said, as she said to me I love you in that movie The Queer couple

Now Can we talk a little of course About your father Of course, why not? The Great Zero Mustel The Great Zero Mustel Shot in the ass But other than that,

Wonderful right It reminds me of the gag and blazing saddles He says the little bastard shot me in the ass Now We were talking about your father was blacklisted. Oh, boy. Yeah. He used to say I'm a man of a thousand faces, all of them blacklisted.

Yeah. But I've heard you say he wasn't a communist. Well, I've said a lot of things. But, no, he never admitted to being communist to me. Right, right. But he, you know, he might not have been officially because he was broke. He probably didn't have enough money to pay the dues. They always said that you could tell who the FBI guys were because they paid their dues.

Right. And none of the communists. Communists won't pay dues. Come on. But I don't know if he was officially in the party, but he backed a lot of left-wing causes. I mean, he was not a right-winger. Sure. My dad.

And did he talk about what it was like when it was just everyone turned their backs on him? Well, not everyone You couldn't work I mean, you know, you couldn't do TV You could do Broadway You could do your stand-up act He did a lot of stand-up That did Laurel in the Pines

And you know The Catskills But The people that never turned their back on you Were the fellow blacklistees They were all That's all they had Was the fact that they weren't informers

I remember Clifford Odette's Informer There should be a course So people go, whenever you mention, you know, Jerry Robbins, Jim, right. Anyway, Cliffordaettes was an informer and was friends with, you know, my father and that whole set. And when he informed, like everyone chunded him or tried to,

of course he worked. And then Zerr was doing a funny thing. And Sam Jaffe, who was my godfather, Gung it in. Oh, we just talked about him on the show last week, but that has that. And Dr. Zorber. Yes. I'm sure.

A gem of a person. But anyway, Clifford Odette's came backstage to say hi to my father when Zero was in a funny thing. And Sam was in the dressing room. And when Clifford Editz walked in, Sam got up and walked to the corner of the room and put his nose in the corner of the room and wouldn't turn around until Clifford Odette's left. My father said hi. But see, those blacklisted actors all, all. Sam wasn't blacklisted, but he was friends of all of them. All they had was their belief that they did the right thing,

and the others did not do the right thing. And it's funny. I'll tell you another. This is one of the great stories of all time, as long as we're on this blacklisting topic. Elia Kazan, Inferment. Elia Kazan, also known as Gaj, was a good friend of my father's.

In fact, he directed Panic in the streets. Right, that's right. That's right. Zero. And let's see. In his book, he talks about being an informer. He says, you know, I didn't like those people. They were all didactic, and I don't care that they didn't like me.

The one exception was Zero Mostell, who was a very nice guy and very funny. And I kind of, you know, anyway, he says, I was walking down the street, about six months after my testimony. and I hear a bellow from across the street, Gage! And it's zero. And I run, he runs across the street and hugs me a little too hard. And then we go and we have coffee. And he writes in his book,

I remember looking at his face and seeing a certain sadness there. And he sort of implies that he felt a little bad, Gage, right? Years later, Bert Reynolds, I think. who was a friend of Gadges told me that when Zero hugged him, he broke two of his ribs. Wow, funny stuff. I love that. I remember someone asked Paul Newman about Ilya Kazan. Right.

And Paul Newman's answer was interesting. He said, it's very easy now to say what you would have done back then. Yes, of course, it's true. You know, the Pajama game had a revival. It's very good with Harry Connick in it. And all of a sudden there was a character in it who was, who they were making fun of for being a very anti-communist, you know, a real. And I thought, you're a little late, you know.

Yes. It's not, it's very easy in retrospect to be, you know. We should point out that your dad testified famously. But he didn't inform. No, he did not name names and he made fun of them a little bit. Yeah, he confronted them. Yeah, a little bit. They cut, at one point a senator called him, I think he testified before the House and the Senate, but I'm not exactly sure.

But he said that a senator said something and Zero said that he was a putts. And the senator said, what was that? And I said, I called you a putts. He said, what does that mean? He said, my father said, it's a Yiddish term of endearment. That's funny. And that was all stricken from the record. So unless you're listening to this, you'll have no clue that.

Such things happen. Gilbert and I were talking before, and didn't he say that if I can't be an informer because if I inform, I can't be buried on sacred ground? I don't believe so. I don't know. Maybe. I said, you know, I could tell you, but I'd hate myself in the morning. I said, I hope you listen to what we've told you. They said at the end of his testimony, he said, I hope you listen to what I've told you. Right. You know, I don't know. And it did him a lot of good. It didn't work for 30 years. We were poor ass. Well, you were born in 46, and he was blacklisted when? Oh, probably, oh, I don't know, 52. No, we were real poor growing up.

And then zero hit it big on Broadway. I mean, you know, when he did rhinoceros and won Tony, and then he did a funny thing, which was a riot. And then he did a fiddler, and then, you know, the producers. And then he was rich and buying art and having a great time. What I always wondered is, like, how come they didn't use him? He was the definitive. Oh, that's a good story.

Oh, I think because Zero was a pain in the ass. That's my belief. I remember I walked by, he was on the phone yelling at his agent and saying, No, I want this and tell them that or they can go fuck themselves. And he's going on and on. And the next thing I heard, Topol was doing. Oh, you know. And I think Zero was shocked.

I don't think Zero believed that it could be done without him. And, oh, I got a lot of stories about this. So anyway, Norman Jewison directs it. And it was probably a smart thing to do because, you know, it wasn't Zero Mostel's fiddler on the roof. It was Norman Jewison's Fiddler on the roof. You know, it wasn't all about zero. But anyway, Tuple does it. So years later, David Merrick, the notoriously shit-headedness producer on Broadway, wanted to do Baker's Wife,

a musical based on the French trilogy that I think Marsupagnol was the lead was very brilliant and Zero loved it and Zero wanted to do it and they were going to do this musical

and Zero and David were fighting over terms and this and that and the other thing Zero was impossible and David's impossible and they don't do it

so we hired Tuppel to play the part and it was a total flop And Tupper couldn't have been worse for the party. He just did it to up yours, Zero. So then Zero was doing some movie that was never released in Mexico. And I went to visit him, right? And as soon as I got there, my agent called and said,

they want you to audition for Jesus Christ Superstar. Norman Jewison will fly you to L.A. and from Mexico to L.A. and when I was talking to my agent about the Zero started screaming, tell him to hire Tupol, son! You're not leaving. That's great. That's great. Now, can I totally put you on this spot?

Yeah, yeah, I can walk out, too. Yeah. Ignore the sound of the ringing phone. And ask you... If it's my agent, tell them I'll get right back to... No, give it to me if it's my agent. Is it my agent? Oh, it's not my agent.

Oh, wait, I don't have an agent. Oh, I'd co-on. Sorry. Can you sing at least two lines from King of the Jews? The King Herod song? Yeah. I can sing the whole thing? Oh, please.

Please, can we have... What? Do you want me to do it? Yes, yes. Without my orchestra? I don't care. Without my Devy of beauties? I have such a terrible...

Just a couple of lines, Josh. Okay. Jesus, I am overjoyed to meet you face to face. You are getting quite. a name all around the place. Healing cripples, raising from the dead. Now I understand your God. At least that's what you've said.

I got a belch. So, you are the Christ, yes, the great Jesus Christ. Proved me that your divine change my water into wine. That's all you need to. Then I'll know it's all true. Come, king of the Jews. straight. Terrific.

Now you get a round of a lot. Terrific. Thank you. I always like the line, prove to me that you're no fool. Walk across my swimming pool. Yes, maybe that came there then. I don't know.

I haven't done it in a while. On request. Yeah. When was the last time somebody asked you to sing a couple of bars from Jesus Christ Superstar? No, I don't think anyone's ever done it before. And it's funny, watching you sing, you could see, you could definitely see your father in...

That's what I've always hoped for on stage that when I perform someone will see someone else. Yeah. But, you know, thank you, I guess. And Frank and I... I'll thank you for it. It's a compliment, no. It's a compliment. Great compliment.

Oh, thank you. Because Frank and I were discussing that your father gave you some acting tips. How do you know this stuff? What have you been following me? Do a little research. Yeah, well, he always said... Something about a cough drop? Yeah, I know.

I was getting there. He took me aside and said, before you go on stage, you must always suck on something red. You know, because your tongue gets too white. And, you know, the lessons from the masters, you know, suck on something red. And we'll all be successful.

Not to go back to the blacklist, but I just want to point out, too. Your dad's part in the front, which is just a wonderfully sad movie. I mean, and his part is Hecky Brown, which is basically he's playing somebody, I assume, based on himself, on his own life, or just an amalgam of different people. Yeah, it was a bunch of different people. Everybody in the movie had been black. Yeah, Herschel Benarty. Were you?

Yes, and they cut me out completely. Oh, geez. Bastards. Yeah. They didn't want the other actors to be overshadowed. No, what happened was a zero. in the movie did his act. And then right before he kills himself,

he goes and sees another comedian doing his act. I was the other comedian stealing his act. But since they cut his act, they cut the guy stealing his act. So they just went right up to the window where he jumped out. It's a sweet, sad film.

Yes, it is. Herschel Bernardi and Walter Bernstein and Marty Ritt and everybody was blacklisted. Yes, my mother, when she saw it, I found the most moving parts of it to be the years that the people were blacklisted. You know, you see a movie when they talk about the real people at the end. That's always sometimes the best part.

But when Herschel's name came out, because when was he blacklisted? No one ever heard of Herschel Bernardi. He wasn't blacklisted back then. He said, blacklisted Johnny come lately. But that was my mother. She wanted credentials, you know. No one ever heard of Herschel Bernardi in 1954. And you worked with.

Robert Mitchum. Mm-hmm. He gave me a... Yes, I did. My first job, I played Robert Mitchum's parole officer. And they had me... I never done a movie before. Never done anything before.

What was the name of the film, Joe? It was called Going Home. Mm-hmm. Going home. With Jan Michael Vincent, right? Yeah, it might be coming home. Going home. Going home.

Going home. Yeah. And so they say, right, go down to Wildwood, New Jersey, and here's the hotel and take a bus, and we'll reimburse it. And I get on the bus. I go into the hotel and says, is there anything for Josh Mostell? And they said, no. And I go, oh, geez, what if I'm working?

I mean, I was it, oh, where's the production office? Tell me where the production office is. You know, I was afraid I had to start working. And I said, well, it's right on the boardwalk. Okay. And I walk to the boardwalk, and there's the production office, and I walk in. and they're about four teletype machines, and no one is in there. And I'm, what is going on?

I mean, and I go out on the border, and I walk in it, and I see Robert Mitchum. And I walk up to Robert Mitchum, I go, Robert, hi, I'm Josh Marcell. I play your parole officer, Borelli. I just wondered, you know, I went to the production office, and there's nothing, there was nothing in the hotel, and I wonder if he says, son. Let me tell you something, give you some advice. Go to a movie, go to a bar, do whatever he want. if they want you, they'll find you.

I thought, oh, that's interesting. So I just de-stressed and went back to the hotel or whatever. And years later, when I was doing city slickers, I had a day off. And we were in Santa Fe, and I called David Pamer, who played my brother. And I said, Dave, you want to go to the movies in Albuquerque? He said, sure. We're both not working. So I said, okay, and we got in my car, and we drive down to Albuquer.

We never told anybody. We had a day off. And we're watching this movie. I forget what it was. And suddenly there's a tap on my shoulder. And I said, yeah. And someone says, are you Josh Mostell? I said, uh-huh.

I said, call the office. They wanted me. They found me. No, apparently, as I was driving off, the office said, you know, we're going to do that child. we're going to need the boys and anybody have a 20 on them. They said, well, I saw him driving south on the highway. They must be going to a movie. Go to every movie theater and look for these two schmots and bring them back.

And they did. So Robert Mitchum was right. That's great. And I've got to say one thing about Robert Mitchum. You know, we did his close-up first and he was very minimal, you know, not showing too much. and then they turned around and did my close-up. And his off-stage acting was the best acting I had ever seen in my life up to that point.

He gave everything you could give another actor. I would say it was better than his performance for the film, was his performance for me, trying to get anything out of this newcomer to the business. No, he was quite a guy, I thought, arrested for marijuana, you know. Yeah, yeah, yeah, sure, famous. He's a famous.

And Jan Michael Vincent was the other actor in that film? It was a father and son's story, wasn't it? With Mitchum, wasn't he an ex-con? Yes, he had killed his wife, Jan Michael Vincent's mother. Right. And gets out of jail 20 years later when the movie starts, and they have a bad time together. Now, Jan Michael Vincent, he seems like he started out of,

as a handsome James Dean type actor. And now, and he just sort of became known as just like drugs and drinking and craziness. Was any of that back then? I went to his hotel room and it was the most dope I'd ever seen. It was like, it was like, it was like, there was the whole, there were like seven people there. Each of them had two joints passing him left and right and. up and down. Nobody was up and nobody was down.

But it was, and it wasn't even that good, the dope. I mean, but it was, I didn't feel stoned. I felt overwhelmed by, like, maybe it was just the lack of oxygen or something, you know, but it was, it was something. Anyway. So back then. But he was nice, too. I'm thinking most people would have been nice.

Mark Metcalf wasn't nice, but other than that. Mark Metcalfe from Animal House. Yeah. Yeah, yeah, yeah. Needamire. Yeah. He was just like his character. He was a real prick.

Interesting. But hey, Mark, I'm just kidding. No, I'm not. Anyway. The Gilbert Gottfried's amazing colossal podcast, producer of the month for August is Kate Jones. Thank you, Kate. Be just like Kate and get rewarded.

for supporting our podcast, head over to patreon.com slash Gilbert Gottfried. For a small amount each month, you can get some colossal benefits, such as access to new podcast episodes before anyone else. Exclusive video hangouts. Shoutouts from me on Twitter, I will even read something that you send me, and it'll sound just like this. Go to patreon.com slash Gilbert Gottfried. That's Patreon. P-A-T-R-E-O-N-N-com slash Gilbert Gottfried. We thank you for your generosity. And you worked with Art Carney. Art would do celebrity farts.

Celebrity farts. He was an incredible mimic. He was an incredible clown to begin with me. Did you know this about Art Carney? No, no. Oh, well, you would say anybody, and he would imitate them saying a line, and then he would do their fart. So he hated Arthur Godfrey, by the way.

He hated him. So he'd start off with these, the Lipton tea people, and he'd do a little dribbly fart. He said he would have a dribble fart. And then he would do, you'd say John Wayne. He'd say, oh, he would have a robust fart. He would go, you know, I think that we should all get together. Oh, I didn't mean to spit it, you, Gilbert.

He's wiping spit off and laughing and everything. It's terrible here. Someone get the man a towel. So he would do celebrity farts. But he would do precise and great imitations of the people. And God knows if the farts were accurate. But I don't know. He was a talent.

He was quite a. And did you remember him in the honeymoon's when he would try to sign a contract? Of course. He would do all that whole. Some of the best clowning. Oh, yeah. Yeah, yeah. Wonderful stuff. They were wonderful comic team. Yes.

Him and Gleason. And that's early in your career, too. I mean, you're still a newbie actor, and you're working with Art Carney and Paul Miserowski. Yeah, that was the third movie I did. A fourth movie I did. Harry and Tonto, which we should say. That was fun. And, you know, just a little word of advice for all you actors out there, never improvise nude scenes.

You know, we were driving. driving along. It was Art Carney's double, and me and Melanie Mayeron, and the rest of the cast was taking the highway from like, uh, from the Grand Canyon to Sedona, Arizona. And a beautiful country. And we're taking all bad roads and getting shots. And I said to Melanie, maybe I should give him a pressed hand here, you know? And she said, don't look. And I pulled down my pants and pressed my, not quite big pink, beautiful hair. I'll press my butt against the thing, and I hear over the radio, do it again, do it again. And I do it again, you know, ha, ha, funny, funny. And then we get, no, we get to the Grand Canyon. And we get to the Grand Canyon, and Paul, who was in the camera car behind me, said, oh, that was great. I said, what, you shot it? You shot it?

He said, yeah. I said, well, how did it look? I said, oh, it was big, and there was a pimple and a brown stain. terribly said, well, you're not going to use it if it looked bad, are you? He said, oh, I think we're going to have it on the poster. I just felt so terrible. I just don't just suddenly take your pants off, you know, just especially if there's a camera around, especially if you're making minimum.

You know, there are all these rules, but I don't know. It was fun. You work with some great directors, Josh. Yes, I have. You just talked to about Norman Jewison. I love Paul. Yeah, we're fans. Gilbert and I are big Missouri fans.

I did a very inappropriate thing with him. It's like right when we were in, I know you're shocked. You're shocked already. But we were in the Grand Canyon. Right after this thing with exposing my button, being informed that it might be the post. which was a lie. And he was sitting with all the big wigs,

and I was sitting with Melanie Mayeron, who I had a crush on. And I was carrying the pie up, a little pie, some sort of, forget the kind of pie it was. A lemon meringue. No, I don't. I was carrying a lemon meringue pie back to the table, and Paul made some joke, go, look, our poster boy, or something. And I said, hey, Paul, did you ever see this?

old joke and he said what and i hit him in the face with a pie in front of all the other you know the assistant directors and all the producers and then you know the the table of the the power table and he was furious he was he wiped the pie out of that goes beyond humor and i went oh shit and um and i was right oh shit was the the word of the day and the casting director Oh, some famous Hollywood casting director. She'd used me in like three movies consecutively, and I never auditioned for her again. Lynn Chenoweth or something?

Oh, Ellen, Ellen, Ellen Chenoweth. Is that right? Is that something like that? I think so. I forget. The casting director of Harry and Dante? We'll have our staff look it up. Okay.

I think it's Ellen. Yeah, yeah, something like that. She had her own casting. But anyway, she moved to Ellen Chenoweth. And I never auditioned for her again. But Paul and I would, you know, got it, all got over it. I mean, we played cards after that, but

she didn't. I guess she didn't want to hire actors that assaulted the director. But, you know, it takes all kinds in show business, doesn't it? And Jewison, we talked about but you also worked for Frank Perry, Alan Pecula. Frank Perry, yeah. Oliver Stone, Bob Fosse.

Yes, yes. Bob Fawce was quite a director. I mean, he could, he would actually cut because the camera wasn't moving fast enough. He knew what, he He knew what he was doing. I mean, he was very on top of things, you know, very, very controlling. He was a choreographer.

Sure. But he was good. I think he really, and he would, he had no pity. I mean, he would run you ragged, but you worked very hard. I mean, the whole part I did in two days. In Star 80. In Star 80, yeah. And one movie where you had your name above the title.

Yeah. Whether you wanted it or not. Right. It's actually two, but go on. Okay. Stoge mania. Ah, stooge mania. Well, I haven't finished watching it yet. The problem was I saw the beginning.

It was so bad. Someone asked if they could borrow my copy and I said, sure. And that was like 22 years ago. You played a guy obsessed with the three. The three stooges. Doesn't he see the three? Isn't you having like hallucinations of seeing the Three Stooges in his or his normal life? I guess that's what they were driving for.

Don't forget. I never saw the movie. I read the script. So you basically knew what you were doing when you were doing it. The check cleared. I knew what I was doing. Yeah. I mean, you knew this was not the next citizen Kane when you.

Oh, I didn't think it was. No. I didn't know how it would turn out, but it turned out hateful. I thought. I mean, it starts off with urinating and stuff. I mean, it's just not, I don't know. But you got to work with Sid Caesar. Yes, I did.

Which is a sad thing that Sid Caesar would wind up in stooge me. Working with me? Yeah, well, I was on that remark. Yeah. I thought he, I think he probably had some drug problems in his life. Oh, yeah. And he was not taking drugs then. And we were sitting together.

And he would go, you know, if you do it and it's bad for you, don't do it. You know, if it's making your life miserable, stop it. And, you know, he was like giving these lessons from his life. It wasn't Mousie Garner in Studey-Maine? who had also worked with Mousy Garner. It was a vaudevillian actor who had worked with Ted Healy in his original Stooges.

Does the name ring a bell? He was in Stoge Media. It does not, but maybe I wasn't paying attention. That is also possible. Oh, God. What was the other movie that you had your name of? Oh, it was called Windy City, which is a cheer jury,

which is actually a comedy about me dying, I suppose. No, it was starring John Shane, Kate Capshaw and me. So I was above the title. Oh, I like that picture. It's sort of a big chill kind of a thing. Armion Bernstein make that movie?

Yes, you're right. I know that picture. It's a good film. Not according to anyone who's else. Okay. No, they opened the film. What was that sound you just made? They opened the film in Chicago.

Right. And I looked at the grocers in variety, and I saw how many theaters they were, and I divided by the ticket prices. I calculated that 11 people per showing came to that. In Windy City. The local support that they counted on did not show up. No, it was not a very big hit.

Some people loved that movie. Yeah, I remember seeing it when it came out. Look, I went to a screening of that with a friend named Larry Price and my mother named Kate Mostell, and we took a cab home afterwards, and Larry said, what was the budget on that? I said, I think it was about $11 million or something like that. And they went, God, can you imagine spending on money on stuff like that?

And I said, it gets me furious. And they start yelling that people would spend money making that movie. I was the star of it. You know, it's like, talk about home. I don't know, a life and show business. But anyway, it was not a big hit. Although I was recognized in Buenos Aires by a guy. No, a guy said, oh, my God,

El Ombres, El Mende in my casa. And he gave me a free poster, and he was so moved. And so there are a couple people that love that movie. I think it's a film worth seeing. I had good memories of it. Well, bless you. Yeah, it was the 80s, wasn't it?

Huh? It was the 80s when it came out, Windy City. It was the 80s. The 80s. Yeah. We'll have our team look it up. It's the 80s. I remember liking it.

I'm going the 80s. Okay, well, thank you. You worked with someone who also worked with your father. A lot of people. Yeah. And this one was George Segal. Oh, yeah. Yeah.

He owes me money, by the way. George Segal owes you money. A little bit. How does he owe you money? Drug deal. But let's move on. You did a series with George Sego called Murphy's Law. I did. I did a series called Murphy's Law, and let me tell you, I don't know. I don't know what to tell you.

We'd love to get him on the show, George Siegel. Oh, yeah, he's nice. He's funny, too. Yeah, we worked on it. It was not appreciated the series. And your dad did the Hot Rock with him. Yes, he did. Yeah. Gilbert and I were talking about how much we liked Zero in that movie. Oh, yeah, the Hot Rock? I haven't seen that in a long time.

Yeah. What I remember about the hot rock is I lived in Crown Heights at the time. I was a kid in Crown Heights, and they were filming it at the Brooklyn Museum. And I would go there every night with my sisters to watch them film them. Well, it's one of those movies and like the ones we talk about where you see Old New York. Oh, yes, yes. And Ron Liebman and Siegel and Paul Sand. Seth Allen.

I think Moses. Your buddy, Moses Gunn. Your favorite actor. Gilbert loves Moses' gun. Really? Yes. Cool. And since we talked about,

this is something else that Gilbert and I are fond of, since we talked about Delta House, a failed series, we have to ask you about you're at the top with two of our other podcast guests, Greg Avigan and Paul Schaefer.

Yes, they had it on TV, but I had been fired by that time. Well, you're in the music video. I did the pilot. And then they wised up and replaced me with, I don't know. Because I had an atromic cat or something. I don't know what, but we were watching.

I had Greg Evigan on the show. One of the musical scenes there, Greg Evigan is, you know, he's singing. He's the handsome. Well, he's on the drums, and Josh is playing the. And Don Scardino was the board. Don Scardino. Oh, yes, right. Right. Mr.

Director now. And Paul Schaefer is, he's there in like... Very funny. Yeah, he's there in a tight rubber suit. Well, you know, Paul, I mean, he's funny, but he's a little strange. Long hair. It was his Elton John face. Yes, yeah, the Elton John glasses.

And you were playing the fiddle. I mean, we were doing the research for Greg Effigan. And you turned up. I do play the violin. In fact, in Harry and Tonto, I have a little violin playing going on. If you want to rent that, you can see me play the violin. There's a music video of you and Greg and Paul and Scardino doing a song from you're at the top. It's just surreal.

It's worth watching. Really? For the wrong reasons. Oh, well. That's why I got in the business. I'll tell you a great story about the violin. I think it's a great story. I knew a little funny thing.

It's the thing I do in Harrington, where I play a... And then you do a left-hand pitticado while you twirl your bow. Bum-Bum-Bum, the weasel, you know. And it's very funny to look at because you're making sound while you're not playing the violin, it seems. And I was in the New York Youth Symphony Orchestra

when I was in high school. And in Carnegie Hall, we had a concert, and the soloist was It's Ack Perlman. And I wasn't a great... violentist but I was good enough to be able to recognize genius and I loved him and he played so well and I was sitting right next to him that I was in the first stand of the seconds and at one point I woke him and said it's a name's Josh Mastell and let me show you something if you ever go on Johnny Carson this is a great thing to do

and I did and I did this funny little left-handed Pitts thing and he laughed and oh that guy's fine I said use it do whatever he wants yours now and he did it on Johnny Carson. Oh my God. That's my claim to musical fame, other than the year at the top thing. You should check out the video.

Are you writing things these people you're going to apologize to? Yeah, I'm going to apologize to you about. Yeah, tell us a little bit about Bruno because Gilbert and I enjoyed him. He was very sweet. His father was a... Oh, Bruce Kirby's, his father, right?

He was also an actor. Do I have that right? I know all this stuff. Yeah. He was an actor, but he was also a matre d. That I didn't know. I think a matre d. Somewhere.

I mean, he, Bruno had sort of a matre d personality in some ways that I think he got from his father. Like if you went to his house, he was very solicitous. He would always help you. Can I get you anything? It was very, very nice like that. He was just a sweet guy, but I was there when he and Billy Crystal. Like, he got furious at Billy.

He never, never yelled at him, but he wouldn't do the sequel because Billy insulted him. Oh. You know, what did he say? You know something? It was a little scene, and Bruno had a line, and before he said the line, he very carefully wiped his mouth and then said the line. And I think Billy went out, he pretended to yawn, like off camera or something like that, or described it. And Bruno was, I mean, he never, he'd never reacted. He was a real gentleman, Bruno.

He never reacted, but he turned out a million dollars for the sequel. Wow. He wouldn't do it. On principle. How about that? Yeah, he didn't want to. And he was best friends with Billy before that. Well, there was, and Harry Met Sally too.

Yeah. Well, then they worked together. Right. And he was the young Clemenza in the Godfather sequel, which people forget. Yes, yes. And you worked with Meryl Streep. Oh, yeah, I did. Yeah, yeah, sure.

Sophie's choice. I don't think she looked at me once in that. But, you know, her character wouldn't. I mean, Merrill's not the kind of... Well, I'll tell you a great story about Merrill. God, I'm giving away all my secrets. I want to save a little something for someone somewhere. But I'll tell you this story.

There was a scene in Sophie's Choice where Sophie and Nathan, think his name is, are having a big fight. Nathan is, of course, you know, has mental problems. Anyway, all day they were rehearsing stage combat, and, you know, they said it's a big violent scene. We're not going to, you know, we're not going to block it out, and they were going to shoot. We were inside, they were going to start inside the house

and run out in the street, and they just put a camera in the street and lit up the street in Brooklyn, and they were just going to shoot it in the master and shoot it on the street this yelling and screaming scene about and he calls her a cunt and throws money at her and runs off and then Stingo comes up to me and says what happened? I go,

he's Ms. Shuggan now. Oh, he threw money at her and called her a cunt. You know, and the same thing that happened, I repeat, and it was ultimately cut out of the movie. But anyway, the big violent scene. And so it started with Stingo outside, Merrill Streep and Kevin Klein inside, and me inside, and all the crew was outside. and they go, all right, we got light, we got speed,

and right before they call action, Merrill turns around and hits Kevin Klein in the face, whap! And Kevin, he, he, he closes, and then she runs out the door. And he runs after her, you know. But it's like she just hit him. She wanted a little reaction from him, and I'm not sure she even got it. Wow.

But, you know, she's a... I would say she's a killer. Not maybe literally, but, you know, something she's going to be good. And if she's got potential... And if you're not on the program, you better get on it. You think she's going places.

She's a smart, tough cookie, I would think. Merrill. That's my Merrill story. Merrill hitting Kevin. Anybody else you want to know about? Well, I want to ask you about radio. Days, which is a film that I love very much. And you were hilarious as Uncle Abe. The fish

obsessed uncle. The fish obsessed uncle. The one, the thing I'm, oh, my God, show business is hard. I remember. Do you feel that way about this show? No, this is pretty easy. I'm talking. I can talk. We appreciate it. They were having, let's see, how do we tell this? What am I talking about? Oh, a radio day.

Al-A. So there was a scene where I go off and I, I, the neighbors are making a lot of noise on a holy day, on Yom Kippur. And, you know, you're not supposed to play the radio. And they're playing the radio. And I go over there to yell at them and say, you know, put it out of the, and I come back and I'm a communist, you know, like them. They seduced me with apple pie or cherry pie. And it's, you know, and I, why are we being quiet? It's them, it's the, you know, it's, it's a very funny scene.

And we were doing take after take after take. And I would kind of, what do you go? All right, just try to do the lines as fast you can. I had a lot of lines. And I would do them and do them 18, 20, 22 takes. And then finally we finish it. And the, the person, the coordinator who, you know, the script supervisor, That's the word.

The script supervisor says, do you want us to print any of the last four takes? He goes, no. And, you know, I feel terrible. I mean, I just felt like I had let him down and wasn't any good. And he never said anything. You know, he's not a very verbal kind of guy in a lot of ways. But I think he just didn't like his writing. But, you know, you're an actor.

You feel everything's about you. Sure. You know, I kept thinking before taking, I don't have to do this for a living. I don't have to do this for a living. But apparently I do. I love the Edgar Bergen thing. He's a ventriloquist on the radio. How do you know his lips?

He's not moving his lips. And that was an interesting thing because the script, which I never saw, of course, but apparently the beginning of the movie, it starts with a great joke when people are robbing a house and they steal all the furniture, but a phone call comes and it's a quiz show. And they answer the question. And these people, come home and all their furniture stolen and a day later

all new furniture comes. Right, that's great. That's great. In Quijs out. And that originally, I think, was on page 80. You know, and the opening of the movie, apparently, I hear from secondhand, was a foggy day

when they spot a sub off of Coney Island. And they never got the foggy day. So he just takes another thing from the middle and puts it in the beginning. You never saw the complete script? He would only give the actors their sides? I think they're special. actors that get the whole script, but the unspecial actors, like, I'm raising my hand for those of you on the radio, we just got our sides.

Well, the game show comes back later because Diane Weiss shows up on the game show and she stumbles onto the fish category. And she knows everything. You remember this in the movie? And she knows everything about fish. Oh, it's just such a terrific movie. Yeah, that was a nice one. No, folks, see radio days if you haven't seen it. Yes, see everything.

Terrific. And our pal Danny Ayello is funny in that. We had Danny on the show, too. Danny? I yellow. Oh. Who's funny in that? Yeah.

Yeah. It's a very sad ending. I mean, that film moves me because it's really about a dying art. It's about radio going away. It's dying radio. What the hell am I doing here? This is not radio. Where are the cameras?

I keep wondering. Yeah. There's that great bit at the end, the dialogue where he says with every passing New Year's Eve, their voices get dimmer and dimmer. I remember, you know, we just have the sides and, you know, and who played my wife? Oh, gosh. Is it, was it Wendy Joe Spurber? No.

No, who I'm thinking of. It was, she was great. Oh, she's funny. Yeah, she is. She can't think of her name. And anyway. Well, we're Googling it. We were just, we were talking and, you know, we're saying, well, how should we do?

She said, well, let's use this Long Island Act. I mean, the Jews from Long Island. So we have this Brooklyn accent. were doing and the first time we ran through it what he says so let's want to one through it and we do with this Brooklyn accent and what he says are you going to do that and I said uh not now so we did not use any kind of discernible accent but it's funny I think he's not the kind of person that would tell you to not to give notes and say don't do it like that he's the kind person that would just fire you and get someone that did it away you'd like it. But he certainly

didn't like our first run through it. I heard that Woody is the kind of director that'll hire an actor like a lead actor and somewhere in the middle of the movie just get rid of him. Well, he's done that a bunch of times, I think. I think it's because he doesn't, he doesn't want to really get into a thing where I tell you what to do. He doesn't want to have to negotiate maybe with an actor like most directors do, you know. he just says it's not working we'll do it I think he looks for someone to bring it all to the project

but I really don't know but he was certainly a talented guy in he oh yeah was it Renee Lippin Oh yeah Rini Rini Lippin yeah Yes Rini I apologize

I think she was Wendy Joe Sber Well I should have known a name I mean you know one of my favorite wives Terrific film and the cast It's actually the only Woody Allen film that has both Mia Farrow and Diane Keaton in it So it's notable for that. Really?

And Julie Kavana. Julie Kavanaugh is great. Michael Tucker's great. The Simpsons. Yeah. Yeah. All nine yards. I love that picture.

Oh, thank you. Gilbert? Gilbert? I guess we'll just do a quick see if there's anyone free left out. Oh, I just remembered something. What? I did a voiceover for this commercial for ESPN with the dogs playing cards. and I didn't work with him, but one of the other voices was Art Carney.

Oh, really? Another dog. And now you just stirred something in my head that this woman who was doing the recording, or the recording people there were going, that he was doing like, during the thing, like a bride on her honeymoon farting. Yes. There you go. It's all coming back. There you go.

Can you imitate the fart? Oh, it would be, it would be very dainty. And it would be hidden. It would be, you know, that you could, it would be like a minuscule fart, a minimalist far. Can I give you some actors and you see if you can imitate their farts? Oh, I hate, I hate stealing another actor's routine. Yeah, go ahead. Let's do it.

I'm free bogart. You know, a masculine. fart. I don't care. I'm just going to fart. Vincent Price. It sounded a little like an elk, wouldn't it? An elk. You know, like,

bod-de-dum, body-dum, bad-da-da-da-da-da-da-da. You know, something like that. You know, a clarion call to arms, perhaps, something like that. A brando. Brando.

Yeah. It would be a grunt fart. And then when you think it's over, it kind of wouldn't end. You know, I think it would be a, it would be a repeater. They're called repeaters in the, in the, Clark Gable. Clark Gable, well, he had those ears. I think if he really farted, if his ears were flat, you know, plappen-plapida, plappenna, plappenipida, maybe you would have a plappity fart.

I mean, I'm just guessing here, you know. Al Pacino. Al Pacino, I mean, he would have a method fart. It depended what part he would. would play, and the man would fart in character. Dustin would probably crap his pants, too, but he is really method. Now, wait a minute, speaking of Dustin. What?

I mentioned Dustin? Yeah, here's something. Gilbert and I were talking. Was he, this is a, this is a, was he originally cast, this is about your dad's film, about the producers, was he originally cast as the playwright in the Kenneth Mars role? Because that's what we heard. I don't know.

And left to do the graduate? I don't know. If he did, he made the right choice. No, I have no idea about that. Okay. More importantly. Merrill Street farting. Wouldn't she have someone to do that for?

You know, I've lived with women for decades and haven't heard them fart. You know, some people just, and whereas, oh, I'll tell you a good fart story. Okay. Someone said to my mother, said, Katie, do you sleep late? She said, oh, no, I'm up with a seven o'clock fart. You know, because Zero had,

Zero's farts were, they were, you know, bull moose farts, I would say. Very similar to Teddy Roosevelt. Really? Really? Yeah, boom's fart. Really?

You know, it would sound like, the seven o'clock fart. It was like the whole neighborhood would get up. And, you know, anyway, that was mom. Mel Gibson fart. Mel Gibson's Well, that's an anti-Semitic kind of a... Yeah, I was wondering.

It's kind of like a... I don't know about me. Far with a Nazi salute. Haven't we done farting? We're not done farting? Okay. How about your fart? Describe your fart.

What's your fart like? You're fart, you'll fight with a little staccato. The little staccato farts, don't you think? Hilarious. I'm out of questions. You're out of questions? Yeah. Well, I have 14 answers to go, so just, I don't know.

All right, well, yeah, whatever you want. I'm your farting servant. I was going to ask you a lot of obscure stuff, but that's probably a better way to close. Well, we're on it. Robert Mitchum farting. Well, gosh, I don't know what Robert Mitcham. I think it would be It would be short

You know I'm not interested In farting son You know If you want one There it is This program brought to you By Heinz Beans

If you have Oh Lord Very funny Well Brian Cappelman was right He was He told us You gotta get Josh on the show And here you are

And you delivered. Oh, God. Brian, baby. Was Brian owe you something? You told us? Oh, yeah. Yeah, my book, get it back. An Amarillo Slim book.

You know, he's a card player. Yeah, yeah, we saw Rounders, which you were in. Yes, I was. We had a whole bunch of weird stuff, but we'll do it another time. Okay. On a second show. Okay. Okay.

Okay. Do you want to wrap this show? As me. Wrap the show as you. How do you wrap the show? I've never heard of it. Hi, I'm Gilbert Godfrey. Hi, I'm Gilbert Godfrey.

That's pretty good. And you're not. So why don't we, why don't you stay, listen, just listen next week. Because it's even going to be fun here. We've got a guy who doesn't imitate farts, he actually farts. And you won't be able to smell it because it's radio. And we haven't even thought. have had to make the fart smells go over the airwaves.

So that'll be good. I love it. It's Gilbert by way of young Jerry Lewis. That's great. Oh, well. Funny. I guess that's pretty much it. We've covered it all?

Yeah. Okay. I want you know my wife's favorite movie line is scoop of vanilla, scoop of chocolate. don't waste my time. There you go. Thanks for seeing. People ask me all the time. Do they? Yeah. What goes with this? Ask the writers. Right. I mean, I'm just a mere actor.

Bobaloo and the... Yeah. That was good script. Yeah. Good stuff, Josh. Thank you. Thank you for doing it. I'm Gilbert Gottfried and Frank Santon. No, I'm Gilbert Godfrey. You knew he was going to do that. I am. Effing. And you say, and we've been talking to zero myself.

Have we been talking to... Not now I can't. The son of zero. Way to go, Gilbert. Really fucked that one up. This is Gilbert Godfrey, and we've been talking to Josh Mostell, who's sitting on two seats

next to me, and thank you very much, Josh. Oh, you're welcome, Gilbert. Okay, come back. And by the way, we have an honorarium of $12,000 for you. Oh, that's very generous, Gilbert. 12,000. Yeah, I can dream, Camas.

Yeah, really? I could dream. Thank you, Josh, Mastell. This was fun. I can't top that. This episode is brought to you by Foscam. Do you want a cheaper alternative to an expensive and hard to set up security system for your home? Then the new Foscam C1, indoor Wi-Fi security security.

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Watch what you love anyway.