PETALUMA'S ANNUAL SALUTE
TO AMERICAN GRAFFITI, 2011 - May 19, 20, 21
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| Click pic to ride with the spirit of Wolfman Jack to Petaluma's Salute to American Graffiti. |
ATTENTION: This blog works best in website mode (click below) KIP PULLMAN'S AMERICAN GRAFFITI BLOG is the best and most successful web tribute to the 1973 film classic, AMERICAN GRAFFITI. Here you'll find hundreds of original, accurate and well-researched articles by this author on American Graffiti including personal interviews, car information, film analysis, original newspaper clippings and other articles written by me.
Monday, May 16, 2011
Que Pasa? Dates & Details
Friday, April 8, 2011
SPEAKING WITH THE REAL KIP PULLMAN: A CONVERSATION WITH ED GREENBERG
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| Ed Greenberg as Kip Pullman |
One of the best scenes in American Graffiti is the brief interaction between the characters Curt Henderson and Kip Pullman. Curt is being driven around by Bobbie and when she spots Kip she asks to be introduced. Curt yells out, "Just wanted to let you know that Bobbie here is hopelessly in love with you and trembles at the sight of your rippling biceps." Kip responds by looking forward, closing his eyes, and nodding his head. It is a take that is priceless. Bobbie, completely embarrassed and angry, stops abruptly at the curb and starts flailing Curt with her purse as she screams, "Get out I hate you!"
Kip Pullman was played by actor Ed Greenberg. A U.C. Berkeley graduate, Greenberg began his acting career in San Francisco’s famed improvisational comedy troupe “The Committee." It was during that time that he was hired to be in Graffiti. [For more on THE COMMITTEE see our CASTING GRAFFITI article]. Since those early days he has worked constantly as an improvisational theater and television comedy director, as well as a voice over actor and acting teacher.
In the early part of June 2007 I had the pleasure of talking with Ed about his role in American Graffiti. He was very kind and thoughtful and a pleasure to speak with. The following is a transcription of our phone conversation.
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Q: At the time AMERICAN GRAFFITI was made you were in a San Francisco improvisational theatre group called THE COMMITTEE. What can you tell me about the improvisational group and their involvement in the film?
EG: When casting director, Fred Roos was looking for players to be in the film he had seen me and thought I would be good in the film. THE COMMITTEE was the go-to group for any movies that were shot in Northern California. We wound up performing in a lot of local films. For instance, members of the group had parts in BILLY JACK [1971], where I played a "free-school" teacher. We were also in films such as Clint Eastwood's DIRTY HARRY [1971], and Alan Myerson's STEELYARD BLUES [1973].
Q: How many members of THE COMMITTEE were in GRAFFITI?
EG: About five, I think. Lets see, Del Close [Guy at Bar], Scott Beach [Mr. Gordon], Jim Cranna [Liquor Store Thief], John Brent [Car Salesman], and myself.
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| Greenberg improvises a hold-up scene in the park in BILLY JACK, 1971 |
Q: Anyone else?
EG: Well, there were experimental splinter groups which came out of THE COMMITTEE workshop. One was called THE EXPERIMENTAL WING. Joe Spano [Vic] was in that group. And, Chris Pray [Al] was in another San Francisco improv group called, THE PITCHELL PLAYERS.
Q: Although you were living in San Francisco at the time, weren’t you also working in Los Angeles?
EG: Yes. I was doing a lot of voice-overs and I worked on some films in LA. I was working with an agency there.
Q: So, when you got the part of Kip Pullman and arrived on location, what was your overall impression of the scene you were filming?
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| A stocking cap covered Ed's long hair. |
EG: Well, it was rather isolated. George Lucas and crew spent a lot of time setting up the shot. Anybody who's worked on films knows this is typical. Setting up the shot took much longer than it did to actually film the scene I was in. It isn't easy lighting up the cars and the interiors at night, so it took some time to get everything right.
Q: Did you rehearse much with Richard Dreyfuss?
EG: Yes. While the crew was setting up the shot, Richard and I had a lot of time to improvise together as our characters, "Kip" and "Curt". We'd say things like, WHAT ARE YOU DOIN' DRIVING AROUND WITH THOSE TWO GIRLS? Or, HAVENT YOU GOT A JOB YET? And just have fun. By the time we actually shot the scene we were like we really were high school buddies.
Q: How much time did you spend on location?
EG: Just one night.
EG: In the film, you have what appears to be an early-60s surfer boy haircut. Was your hair normally like that?
Q: No. Actually my hair was shoulder length so we tied my hair up and put it into a navy sock cap. So, I suppose it gave the illusion of short hair in back and long in front.
Q: Do you remember anything about the guy who was driving the car you were in?
EG: I kind of remember the cars being driven by their owners, but I don’t really remember specifically the guy who drove the car I was in.
Q: What about actress Lynne Marie Stewart who drove the VW Bug that Dreyfuss was in?
EG: Well, I was getting to know Lynne who was a young comedy actress out of LA. I knew she and Cindy Williams were really good friends. Since the film was released, I see Lynne about once every decade and we always refer to each other as MY LOVE INTEREST, [laughs]. Its our little joke.
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| Curt (Richard Dreyfuss) & the girl with a crush on Kip, Bobbie, (Lynne Marie Stewart). |
Q: At the time you filmed your part did you think American Graffiti would be so popular?
EG: I knew it would be big, but I had no idea it would be that
Q: How has the film impacted your career/ life?
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| Ed Greenberg in Rwanda with improv students, Feb. 2007 |
EG: First of all, 30 yrs later some guy called me up and started asking me all these questions [laughs]. Seriously, with all the things I’ve done to this day, the fact that I was in such an iconic movie is a really cool thing. Once in a while, people will come up to me a start reciting lines from the scene I’m in.
Q: So, what are you doing these days?
EG: Well, I recently went to Rwanda as a state department cultural envoy to train an acting company. The training was for entertainment but also to give them improvisational theater game skills that can positively affect the lives of their fellow citizens. I really enjoyed it. We call the organization LAUGHTER FOR A CHANGE. The work I did in Rwanda crystallized my focus to expand upon the power of improvisational theater as a tool for social change in a global setting. I like the experience of knowing that comedy and laughter can change people's lives in a positive way.
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NOTES:
Photo: Ed Greenberg in Rwanada with improv students. Feb. 18, 2007. Laughter for a Change's photos posted on the web. http://www.flickr.com/photos/27006890@N05/2656324333/. Retrieved: 4/7/2011.
Saturday, March 19, 2011
A CONVERSATION WITH CANDY CLARK
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| Original foreign Lobby Card signed by Candy on Feb 13, 2011 |
Last month Candy Clark, who played Debbie in "Graffiti," was gracious enough to spend a little bit of her time talking with me. I video taped both her and Bo Hopkins talking about their roles in "Graffiti" at the Sacramento Autorama on Feb 12, 2011. I was thrilled but when I got to my hotel room to watch the video I discovered there was no tape in the camera. I felt so stupid and was so angry. Both Candy and Bo were so considerate to spend time talking to me and I didn't even get it on tape. And, it was especially a good conversation with Candy 'cause she was blowing kisses into the camera!
Tuesday, March 8, 2011
A COOL CONVERSATION WITH PAUL LEMAT
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| Original Lobby Card signed at the Sacramento Autorama, Feb 13, 2011 |
As promised, here is some of the video captured from my recent trip to the SACRAMENTO AUTORAMA last Feb. 11-13, 2011. Actor, Paul LeMat who played John Milner spoke with me for about an hour about many things including his role in "Graffiti." Let me just say, Paul is a down-to-earth, friendly guy, with a wonderful sense of humor. He was more than willing to share his views about the craft of acting and how he prepares himself for the various roles he's played throughout his acting career. I've edited the video down to 20 minutes that deal specifically with his starring role in "Graffiti." At some point I may post the rest but for now... Feel free to share your comments with us about the interview.
Damn, you're lucky to get all this quality entertainment for free!!
Monday, February 21, 2011
THE CARS: '58 Chevy, Impala
To this writer, the '58 Impala in American Graffiti is the best of the movie cars. Not too flashy in its looks but not meek in any respect. Its simple white color gives it a somewhat stock appearance but the custom red trim and the extended taillights on the car's rocket-like tail fins highlight its unique nature. Co- producer Gary Kurtz bought the car for the film in the Los Angeles area.
Its complete red and white tuck and roll interior was the thing that attracted Kurtz to it because the original script makes a reference to the tuck and roll upholstery in Steve's car. Once it was purchased, the car was handed over to Transportation Manager, Henry Travers, who sent the Impala to Close and Orlandi's body shop in San Rafael, where it was covered with an appliance white paint job and some red-fogged accents around the bodylines. The car was originally metallic blue but it is not clear if it was already painted white when the car was purchased for the movie. A set of chrome-reversed wheels was added. Although in the film Terry brags that the car's engine is a 327 mill with 6 Strombergs, in reality, the '58 Chevy was powered by a stock Super Turbo-Thrust 348 and a 3-speed Saginaw transmission. |
| All Toad needs to meet a woman is a fine car like the '58 Impala. |
All the main cars were advertised for sale in Bay Area papers once filming was finished. Mike Famalette of Vallejo, CA, was looking to buy his first car and spotted a tiny ad in the San Francisco Chronicle that read, "Special Sale of Cars Used in Pictures." The ad listed all of the main cars used in the movie, along with the Impala described as "Chevy '58 with tuck and roll."
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| '58 Cadillac tail light were placed over the original ones. |
Transportation Supervisor, Henry Travers had run the ad and was selling the cars from his home in Sonoma, CA. After looking over the automobiles, Mike decided he wanted to buy the Impala. He appreciated the well-proportioned Impala lacking the bizarre shapes found on many of the cars of the time. Not only did he like the vintage rod's appearance, but also the asking price of $325.00 was within his price range. Mike offered Travers $275 but was turned down. After a little more haggling and a $10.00 loan form his dad, Mike became the happy owner of a beautiful looking white Impala with tuck and roll upholstery. Mike's dad wasn't too happy about his son's first car having a few dents and poor brakes amongst other problems. But, Mike paid Mr. Travers the money, borrowed a little more money from his dad to pay for gas and proceeded to drive the Chevy home.
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As he was driving his prize home, Mike ran a red light because the brakes had stopped working. Then one of the Cadillac taillights fell off. Luckily Mike saw the plastic light cover in his rear view mirror and was able to recover it. The Chevy was in poor shape and would require some work to make it reliable. The car's original 348 engine and 3-speed Saginaw transmission were worn-out. With the help of his brother, the engine and transmission were replaced with a 283 small block Chevy and a 2-speed Power glide transmission. Unfortunately, Mike, still a teenager, was unfamiliar with building cars at the time and the engine and transmission replacements only lasted about six months before they had to be replaced. His second replacement engine was a 350 LT-1 along with a 2-speed Power glide transmission. After high school Mike joined the Marines and kept his Chevy parked in his parents' garage. Occasionally his brother would joke with him on the phone telling Mike they were turning his Impala into a low rider while he was away.
The car remained parked in his parent's garage for 28 years. During this time Mike married his girlfriend, Sandy and they raised a family in the state of Washington in a town called Colville. They had not even thought about the car until daughter, Ashley decided that for her senior project she would remove and replace the Impala's engine with a 348 Tri-Power and a
3-speed turbo-hydro automatic transmission. In addition, she wrote a paper on the importance of a positive influence a father has on his daughter, and received an "A" on her project. Aside from motor and transmission replacements, Mike has pretty much kept his Impala in the same condition as when he bought it. His reason for this, he explains, is that he makes a modest living and fixing minor blemishes just cost too much. The front tires have been repaired several times but the back tires have never gone flat in fact the air in the rear tires is still mostly movie period air from the early 70s.
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| The car was powered by a 348 Tri-Power |
Mike took the white Chevy to car shows and events occasionally, however, in the past family and other obligations had prevented him from touring with the car the way other Graffiti star car owners do. "I'm a little out of the loop," Mike has said.
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| The Impala & its proud owner, 2005. |
Fortunately, for Graffiti fans Mike had been making the circuit with some replica Graffiti car owners, The Tribute Team a few times a year for events in the Northwest such as benefits for Cancer patient care in Newport Washington. Because the car isn’t in perfect shape Mike used to express reservations about showing the car. "I hope people aren't disappointed when they see it," he had said. Considering most Graffiti fans have never seen the Impala, they would be thrilled just to get a peak at this beautiful piece of movie history regardless of its minor imperfections.
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| Similar to a woman, the Chevy's rear-end is one of its most alluring features. |
After 42 year of ownership, Mike sold one of the most famous cars in American film history. On November 6, 2015 the car was sold through PROFILES IN HISTORY, which is a Hollywood memorabilia auction house. The car originally crossed the auction block at about $800, 000 but when it did not immediately sell the price was reduced. The car was eventually purchased by Ray Evernham. Rumor has it that the longtime Graffiti fan, Evernham paid somewhere in the vicinity of $300, 000 for the star car. According to a recent article on the Chevy Hardcore website, now that he has possession of the car his first order of business is to bring the classic Impala back to its original, American Graffiti condition and preserve what he says “has been on my dream list forever.”
When asked why Mike finally decided to sell his star car after so many years he explained that two of his family members have on-going health issues and paying for medical costs are expensive. So the profits made from selling the car will help go towards the medical costs. Mike believed if he waited any longer to sell his car that the rising capitol gains tax would be lost to taxes. If you sell your diamond ring or your house the federal government wants to tax you at 20-28% depending on what your selling and it may go up to 40% next year his accountant told him. "So, I thought I'd just go ahead and give my money to my family rather than the government while I still have control over it," he said.
According to Mike, the original Saginaw three-speed manual transmission used in the film was sold with the car as well as a California DMV validated registration card issued to Lucas Film LTD in Mill Valley, California. Mike said he saw Graffiti star Candy Clark’s shooting script for the movie was up for auction and a typed copy of her royalty shares. "I think her script went for $6,000" In addition, the auction also included an original poster for “American Graffiti”
Mike amusingly recounted his conversation, "I told the auctioneers, 'What ever they sell the car for-as long it's over $285 than it is pure profit to me, 'cause that's what I paid Henry Travers for the car back in 1972.' [laughs]." Despite his seeming carefree remarks, Mike added that he is sad to have had to sell a car that he has owned since high school and will miss owning an iconic piece of movie history.
“To now own this car and lead the preservation of this incredible piece of American history is truly an honor,” said the car's new owner, Evernham, after he first purchased the car. “To save this car for future generations, we have to go back 42 years to its original movie condition. He continued, “It really is a forensic preservation. We have to take it apart piece by piece, catalog every piece and then repair those pieces. Every piece of chrome is being straightened and re-chromed. The emblems are being re-chromed. The nuts and bolts are being re-plated. The interior has been entirely dis-assembled and will be restored back to its movie condition. Everything we took off is going back in it," says Evernham.
Working with Axalta Coating Systems, a manufacturer of liquid and powder coatings, Evernham displayed the finished car in all it’s American Graffiti glory at 2016 SEMA show in Las Vegas. Although this writer wasn't able to attend, the pictures below by Davey G Johnson and Ray Evernham gives you some idea of just what a magnificent restoration job was done to this classic beauty.
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| In the film Toad brags that the engine had a 327 Chevy V-8 with six Stromberg carburetors. So Evernham installed a first-year-of-production 1962, 327 and six period-correct Strombergs from an original manifold. |
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| Those aren't fuzzy dice they're knitted just like the original ones that dangled from the movie car. |
Below is a video of Mike Famalette and I discussing the car when he was still the owner.
CHECK IT OUT:
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NOTES
- Famelette, Mike. Personal communication, May 15, 2008, December 10, 2009, January 5, 2011 & 11/15/2015.
- Gabahl, Pat. (May 1976). The American Graffiti cars. Street Rodder. Vol. 5. No. 5.
- Gilbert, John. Photos of Impala. Super Chevy .com
- Groster, B. G. (Summer 2010). American Graffiti: father/daughter style. Northern Reach.
- Harding, Michael. June 03, 2016. Ray Evernham Channels his Inner American Graffiti for Preservation. Chevy Hardcore website. http://www.chevyhardcore.com/news/ray-evernham-channels-his-inner-american-graffiti-for-preservation/
- Johnson, Davey G. (November 3, 2016) Field Car No More: Evernham Restored the '58 Impala from American Graffiti. Car & Driver website. http://blog.caranddriver.com/field-car-no-more-ray-evernham-restored-the-58-chevy-impala-from-american-graffiti/
- Love, Bill. (Photographer). (2009). Impala interior, engine, and tail lights [photographs]. Retrieved 2/10/2011 from http://www.themilnercoupe.com/p/steves-58.html.
Monday, February 7, 2011
Que Pasa? Dates & Details
AMERICAN GRAFFITI STARS & CARS to Appear
@ SACRAMENTO AUTORAMA!
If you're in the area, or even if you're not like me, check out the 2011 SACRAMENTO AUTORAMA in Sacra-tomatoe, California at the Cal Expo Fairgrounds. The event takes place Friday through Sunday, Feb 11, 12, & 13.
Be sure to make it over to Building B where you can find the stars and cars of American Graffiti. The original '32 "Milner's Coupe" from Graffiti will be on display. Also, on display will be the famous '32 "Naked Milner" car built by Hal Johnson.
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| The original '32 "Milner's Coupe" from Graffiti will be on display. |
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| Also, on display will be the famous '32 "Naked Milner" car built by Hal Johnson. |
Some of the Graffiti stars scheduled to be there include:
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| Candy Clarke (Debbie) |
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| Paul LeMat (Milner) |
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| Bo Hopkins (Joe The Pharaoh) |
Be sure to meet the stars and marvel over how good they look since their appearance in the film 38 years ago. Alright, I'm done promoting this incredible gig. Nuff said.
Be there or be square!....
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Friday, January 21, 2011
Themes & Symbols Pt. 1
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| American Graffiti co-writers, Gloria Katz & George Lucas. |
Many great filmmakers tend to revisit certain themes in their work and George Lucas is no exception. In his first three films Lucas has been very consistent in his themes and obsessions. THX-1138, American Graffiti, and Star Wars all share a certain continuity in ideas that are explored. With these posts I've attempted to extract and examine the themes and literary devices used in Lucas' second and best feature film.
YOU CAN’T STAY 17 FOREVER
Although change can be a scary concept, one can't hold on to history. Things change and life goes on. This point is illustrated in various ways throughout the film. For example, when Curt strolls down the empty school halls and tries the combination on his old locker he can't get into it; time has passed, and he can no longer be part of his old high school days.
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| Young filmmaker, George Lucas |
The concept of moving forward and not living in the past is a major theme in Graffiti. Nobody knows this better than Lucas, himself. In 1987 George Lucas told Rolling Stone magazine, "I got to do what I wanted to do by not being frightened away by the future and the unknown, and I figured that was a good message to get across." Lucas stresses that life is a constant transition, and one has to accept that fact. Clinging to the past only leads to spiritual stagnation and other problems. In a 1974 interview Lucas illustrated this point, "You know, the brittle bow breaks. The willow bends with the wind and stays on the tree. You try to fight it, like John did, and you lose. You're not going to remain 18 forever."
A SIMPLE MOVIE WITH NOT SO SIMPLE METAPHORS
The use of cars in Graffiti works as a metaphor on several levels. The cars can be viewed as transporting the characters through change but also as limiting them. For instance, when the nerdish, Toad inherits his buddy’s elegant '58 Impala for the night he becomes much cooler. Just having a vehicle to drive up and down the circuit increases his chances with the opposite sex. On the other hand, John cruising in his little deuce coupe can be seen as a metaphor for stagnation. John is a 22-year-old teenager who notices that the cruising strip is "really shrinking." He has the sensation that things are changing around him and out of fear he desperately tries to cling to his adolescence; he is driving in circles and going nowhere.
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| Is Milner just spinning his wheels? |
George Lucas has described cruising as a teenage mating ritual, where interaction takes place between the opposite sex. Through car windows young people communicate acknowledgements and flirtations. Some film scholars have identified cruising and particularly the car itself, in Graffiti as representing protection from a larger society. Writer Emanuel Levy is a good example of this viewpoint. In his book "Cinema of Outsiders," Levy notes that in Graffiti, the car window is a convenient shield to the outside world.
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| Lobby card of '55 Chevy & '32 Coupe dragging the main. (click for larger pic) |
And, She'll Have Fun, Fun, Fun...
Lucas has said that he invented the blonde girl in the T-Bird as a metaphor for the ideal that is always just out of reach. In Graffiti, Curt chases the mysterious blonde all evening while she eludes
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| The ideal is always just out of reach |
in a white dress and a white car. Some film scholars have pointed out the similarities between the blonde in the T-Bird and the green light at the end of a pier in The Great Gatsby. In the story Gatsby sees the green light as hope for a relationship with Daisy. Both the blonde in Graffiti and the green light in Gatsby are recognized as representing all of the protagonist's wants and desires which includes the elusive American Dream. Once Curt sees the blonde he is pulled into an emotion doomed to frustration and a desire impossible to satisfy. He becomes passionately committed to the unattainable. At the end of Graffiti, Curt realizes the futility of the pursuit. In the post script we learn after college he migrated to Canada to avoid being drafted into the Vietnam War. Once there he probably chose to chase another dream: writing THE GREAT AMERICAN NOVEL.
FASCINATION WITH CARS
There are close ties between Lucas' teenage car obsession and his filmmaking. This can be seen in his earliest work such as the1966 USC student film, 1:42:08: A Man and His Car. The wordless film depicts a race car driver, (Daytona designer, Pete Brock,) trying to qualify for a race in a Lotus at Riverside. He finishes the lap in 1 minute 42.08 seconds. Lucas was very pleased with his 5 minute, student film. "It was interesting to me because I was interested in cars and the visual impact of a person going against the clock," he recalls. Lucas made a more abstract experimental film (also from 1966), exploring the reflections of traffic on the glistening surface of a car at night. This theme of man and machine would reappear later. Lucas' first three features have some motor powered form of transportation that is crucial to the story..
RADIO IS FANTASY!
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| The Emperor, Bob Hudson. |
In the past Lucas has said he found people's familiarity with technology particularly radio, to be intriguing. In 1973 he told Seventeen magazine, "Radio creates a fantasy that doesn’t exist at all except in your own mind." He first explored this theme in his 1967 USC student film, The Emperor. The B&W, 24 minute, film is an opus to Bob Hudson a very talented veteran southern California disc jockey. The film, in a jokey manner, comments on the background and popularity of the sarcastic DJ at KFWB and the idea that radio is a fantasy. The film is filled with a cool rock soundtrack of early sixties classics. Many people who've viewed this film find it to be Lucas' most enjoyable student effort. Although Hudson is featured in the 16-mm student project, the DJ was not Lucas' first choice for the part. In Dale Pollock's book, Skywalking, Lucas told the author, "I had always been interested in the phenomenon of radio and originally wanted to do the film with Wolfman Jack, but I didn't know where he was. I was amused by the fact that people have a relationship with a deejay that they've never seen but to whom they feel very close because they're with him everyday. For a lot of kids, he's the only friend they've got."
Fortunately, by 1972 the DJ had begun broadcasting a live 7-Midnight nightly show on the Los Angeles radio station, KDAY. Bob Smith aka Wolfman Jack was no longer the mysterious, elusive personality broadcasting from Mexico that he had once worked hard to foster. Locating him was easy. The co-writers of Graffiti, who lived several blocks from the station, approached him and he immediately agreed to be in Lucas' new film. With Wolfman acting as a Greek Chorus, seemingly commenting on all the action. Lucas was able to make the kind of movie that he really wanted to make. With his gravely voice, Wolfman Jack blasts rock 'n' roll tunes, makes prank phone calls (some staged, others real), takes requests, and creates a whole pre-recorded fantasy world that is aired from some undisclosed location. Although every kid in the film has their own idea or fantasy of what they imagine the Wolfman to look like, each feels that they know him personally.
He is their friend, father figure, and guardian angel all rolled into one.
He is their friend, father figure, and guardian angel all rolled into one.
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NOTES
- Artifacts from the Future: The Making of THX: 1138. Prod. Dir. and Ed., Gary Leva. Supplementary to THX: 1138 Director’s Cut. DVD. (1970, 1998). Warner Brothers.
- Baxter, John. (1999). Mythmaker: The Life and Work of George Lucas. New York. Avon Books.
- Greenspan, Roger. (Aug 13, 1973). American Graffiti. New York Times.
- Levy, Emanual. (1999). Cinema of Outsiders. New York. New York University Press.
- Pollock, Dale. (1983,1999). Skywalking: The Life and Films of George Lucas. Updated Edition. New York, DeCapo Press.
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