Old folks. Show people fake good money to see this movie. When they go out to a theater, they want cold sod. That's little hoopcorn and no monsters. In the Projection Booth, Everyone for ten podcasting isn't boring off. Hey, folks, welcome to a special episode of The Projection Booth.
I't my host Mike White. This episode is a little different. We are talking about a movie that has yet to be I'm talking with producer Anne Branstein all about the documentary The Girl Who Would Be King, which she is currently working on. It is about and Beats, who is one of her best friends, one of Eve's best friends, and Anne is the creator or was the creator of square Pegs. She passed away two years ago and Eve is now in the midst of making a documentary about Anne. You get to hear
about Eve and Anne in this episode, and I hope it. What's your appetite for what The Girl Who Would Be King is going to be all about? If you want to keep up on the production, I suggest you go over to Eve Branstein Productions dot com where you can hopefully find out more about it, and of course I will keep you up to date as well. As we move forward with the production. Thank you so much for listening, and I hope you enjoy the interview. Can you tell me about your background
because you've done so many interesting thanks. Professionally, I came to Los Angeles after being a theater director in New York around nineteen seventy nine, and I went to work with Norman Lear pretty much as my introduction to the community here. It was an excellent opportunity and I was lucky also, and I then became a filmmaker through the AFI program and an alumni of AFI's program. I made a few of my young films there, but Lop, Skip and Jump.
I became the head of casting phenomenon As companies, speaking of the movies and the TV shows, and was a great opportunity, great career. It wasn't really what I was set out to do. I wanted to be in directing. I was doing at its theater director. Now being a filmmaker through a FI and wishing and hoping to be a filmmaker. But I still loved television. I fell deeply and madly in love with TV. The way you could start something and finished something like that they come up with an idea and
shoot it. It was to meet the miracle and reading while movies years and years. So I worked with television for a long time, and then I graduated into what I wanted to do at the Leader Companies and I became a producer and I produced a series a few pilots, but found me a series of one another year at CBS called Er Now My jo It's not the R. But I introduced George Clooney to the world in the first R, which started Elliott Gould and Unchata Farrell and Mary McDonald great cast, and it was
based on a show I had seen in Chicago called er Anyway. Later on George wand up on another R and so it was the beginning up a friendship and working with George Anyway. I wrote a book called The Actor or a Practical Guy to a Professional Career, and then I started just producing and writing. Then I met up what I had done, though it was not a few pilots, and then I was invited to go over to Castle Rock.
Now. It didn't go right away because obviously the guys who started Castle Rock used to be all part of normal Lia then days it was Columbia Television or whatever. So I had to wait a year and I went off to be joined them as a producer and she loaned Behold and Beat. So I had met in nineteen eighty one when I cast her series Square Pegs, and I was in awe of her. She was an amazing character of what a character
she was? Oh wish Anyway, I loved working on Square Pegs, but now I jumped the gun on that because that's a very important place for you to edit as a filmmaker. Go back and pick up an and and I became friends in during the Square Pegs era. She was astounding brilliant and I was in all of her background. She had just come from SNL, which I was a fan of, and then we had her fabulous time and the show didn't last much more than a year. And then I went to Castlemock
and sure enough I had optioned a project called Julie Brown The Show. Now, in what I'm seeing press release recently, they have the wrong showdown. It was Julie Brown the Show, which was a TV pilot that we did and cast a Walk asked me to see if I would join forces with Anne Beats, and so that's when our partnership we became a company basically through that association and we produced this phenomenal pilot. You can see some pieces of it on YouTube, but it was head of its time. It was a show
within the show. Having done in my casting career, I think one of the most unique open shows was a show called Fernwood Tonight. And because Fernwood Tonight was such a unique show, I stole some of my best ideas from it, which was to do that same kind of dead pan we're doing a show, and Julie was a show within the show. Julie Brown the show.
Later on, Gary Shandling did Saintlier and stayed on forever. But the concept of doing that sort of satirical sitcom was something had Anne and I worked on for that, and then we were invited to go over to Stephen J. Cannell's company as a team. We've found up finding out we worked really well together. We started a company called B Girls Productions, and we went to the Cannel Company to be the head of their comedy department, and we got tons of scorps for them, and we had I think we did a
couple of pilots and this went on and on. We had an amazing association and so from that point on, life keeps growing. We kept doing things on and off for many years and worked on in several TV movies, and then we did a John Waters show that we also directed called John Waters Presents Movies That Will Corrupt You, and we spent time with John and we did
so many things. It was a great forty years. Forty years. When it comes to the Julie Brown Show, was that just the name of the character or was it one of the many Julie Browns let us out there? It was the Julie Brown what they called Uptown. She was the redhead who did earth Girls Are Easy, clever comedian and good singer. So the show was about her having her own show. It was like a musical talk show. And we had a light band on stage which was built on these guys
that I knew, the Sales Brothers. It was Soupy's sons who eventually were our garage man, including Brian Ray who was now Paul mccartey's guitar player, and the Sales Boys, And it was supposed to be a garage band, so we had quote the garage on stage and they played her on and off and played some of her songs and had a live audience and it was goofy and then she had a backstage light which was chaotic as you could imagine, and that was a very cute pilot. I said some pieces of it on
YouTube that you can see, but that was that Jutney Brown. And now she's doing an ongoing character that she created at one point called Medusa, which is a spoof a Madonna. And the recent stuff she's doing, if you check it out, is hilarious because she's Madonna who is now an elder based on some of the humor that Madonna is trying to change your image. But anyway, I don't really want to get into that too much, but it's very funny. She's very funny, and again you can see that stuff.
I've never really talked to a casting person, and I'm so curious, what is your what's your modus operanda? How do you figure out who's going to be good for stuff? Because I know, like you said, you worked with Castle Rock, You've casted so many things that I love, like Spinal Tap or sure Thing, just great films. How do you start off? I came out here to be a filmmaker and I needed a job and I
got this job in casting by accident. I needed a job. Someone offered me an opportunity to work at was then tat Tandem Productions, the old TV company, and I didn't want to take the gig. At first. I thought it was to be like a quirk in the casting department meeting, I fill out contracts and then I go down to the set and I get people sign their contract. It was all like simple contracts. They were all day players stuff. Even if you were movie starting, you had to sign a
cheap contract. So I was there for three days and it was really a crazy scene. There were actors coming and going, and there was a show called Fernwood Tonight which held not aired yet, and they were putting together characters that could do improp and could create reality in this sort of heightened state. And there was Martin mull and Fred Willard were ready on board, and Norman
was still looking for more talent for it. But the place was a mess with it, and the gal who was the casting director, it was on the verge of like really a breakdown serious. She was overwhelmed because I had a history of knowing what I was doing with actors. She asked me to work on the filming or the taping was taped in another room and I did it. I loved it. It was like I don't have to do a desk job. I'll go do this. It was great, and so that
was like I think I started on a Tuesday. Now comes Friday, it's before Memorial Day weekend. She has a meeting with Alan Sick normally or everybody in a room to have a conference because over the weekend they're going to have actors coming in all weekend to try doing shit with Martin and Fred. She comes back. Her name was Cheryl and she had just done the children's What she did she put together the mouse to tears at that year. She came
back in and she said, just what we renounced. We were all sitting around a few other assistance. I just quit and she points to me and she said, well, I recommended you for the job. Wow. I go what. I have no idea what this means. Within a few minutes, the phone rings and it was Alberton, who was about VP under Norman saying, Ive, we'd like to see you over here at the Extecutive acuses
that we were at a small studio space. It was a TV Studio and I walked across the lot, going heck, and I go in this room and there's Norman Lear. It was my hero, right He's in the room and some are these other executives, and Alan said, oh, I became very good friends with and they tell me what I'm gonna do. I'm going to take over. We're going to give you a raise, and they go on and we'll talk to you after the weekend because we need you here all
weekend to help make sure this goes well. And then we'll talk about maybe giving you an opportunity to stay at a certain level and we'll bring someone else in. So I went, okay, here we go, and I rolled up my sleeves. I spent the entire weekend doing what they needed pain Tuesday morning, it called in again and they go, we've decided you're really good at this and you should take the job, and they another race. I was now the head this show. Away was the casting. That's how I
got into casting. It's almost as good as Lana Turner at the counter at Schwabs. I felt like I was like a star, or so I got a star was born anyway, and that's how it got into casting, and I figured the show and then it went on and on. I became a vice president there. I started developing shows for them. It was a home that very few people had been fortune to work it because Norman was very and the company itself reflected this desire to really have a good time making shows and
have quality. And I used to call it the Montessori School of broadcasting. It was like playschool, but you were doing great stock and we did so many good shows. And yes I did spinal tapped during that era. And when the company expanded, they opened, they became own the company as well, and that was the That's how I got into casting. It was one of those fortuitous moments. But you got to be ready and you have to say yes. That's like my advice to people when they say what do I
do? I go, just keep going and take all kinds of jobs. Don't go, oh, I can only do this. That's something I'd find very There was a legitimacy to that. I didn't take that path. That's for some people, it's not it wasn't for me. I didn't come from the background that gave me that much. I would say privilege. I didn't feel privileged enough to say, oh, I only want to write, Oh I only want to act, or you know what, I didn't ever want to act, but I only want to direct. You have some people who
are committed to that. I didn't feel privileged enough for that kind of idea, So I've always switched off in my career towards I'm making more sense in it because I'm older now and I see the path I've been on, which is where I wound up now is exactly based on what I just said. I went where the door was open, and I gained other strengths so that now I am i mentally involved in production and in directing, and I can be more selective about where I want to put my time and energy. So
you said you worked with A and Beats for forty years? What was that working relationship? Like? Good? It was a good, really very I missed her very much. Yeah, I missed her very much. It's only two years. I'm actually having dinner with her daughter tonight. Anne was one of a calling. There was a very many people I could say She's one of a card. She was remarkably funny, really smart, whip smart and unique. Her ideas and her takes on things, and her humor and her
kindness. She was very kind. When she cared about you, you really felt close and good. She was very much the other side too, with certain and she's also remembered for her what I called quickly since she could be tough. She'd be very tough and bitter bitter sweet she was. She had those moments. But if you were in her circle, she was a lamb, but she could be a lion out there. She had to be.
She was. She was exceptional and that she had the nerve, if you will, to get into a business that there were no other women at the table literally, and I always admired that she had that I had a too, obviously based on the choices I was making, But she just moved right into it. And when she was working and her first gig was that was prominent. She was a very exceptional student as a child. She like got into college at sixteen and went on to Swinton McGill. Her mom has Canadian
status, so she went to a Canadian school. And then she was with Michelle Chaquette, who was a writer, and he got invited to come down to the National Lampoon and as Anne says, I got into the comedy business the same way that Katherine the Great became the Queen on my Back. So she had many very interesting lovers. And then she got to the National Lampoon. She was the only woman at first and then added sound. She did
tremendous work there, which we about to explore in our movie. She did some really great ads, she did a lot of writing for them, and in the interim she decided that it was there was not enough women involved, and she wanted to do something about women's humor. She had a real conviction that women were funny, not just recently. They didn't just become funny the
last fifteen years or ten years in history. And she put her book together called Tinners, which is a very famous cover where it just shows the girl's moves in a sweater. But and Lynn Goldsmith, the fabulous photographer to Dad, and she was one of the females in Anne's life that she promoted. Anne always broke women around, and she always believed that women were funny and that they had a sense of humor and they were smart, and she was
a trailblazer in that sense. And so she was with Michael Johnny Hue and her became boyfriend and girlfriend, and there's a movie. I don't think you're seeing a movie about the lampoon and about the Kenny. Oh yes, yeah? Was it like stone crazy. It's got like a whole bunch of adjectives. Natasha Leone played Anne in the movie, and I and Anne met with her and everything, and so Ann said she was great. She said, the only thing that I don't get is why she's smoking. I never smoked.
So yeah, she had a persona that you could hang up entern On, you could say, look, here's a light for women. And so she went from the ash Lampoon. Michael O'Donoghue was invited by Lord Michael, come on over to this new show I'm doing well Saturday Night Live. And he said, I'm going to bring my girlfriend. She's brilliant. Hit her about her already, so he said, fantastic. So Anne winds up now
at SNL and she was the girl in the room again. This time she was partnered with Rosie Schuster, who was Lauren's wife and was a writer My joy. I don't want to I don't want to make that her title. She was a writer who was married to Lord Michaels and by the way,
the daughter of a comedy duo called Wayne and Schuster. They were comedy duo, so Schuster was Rosie's daddy, so she came from a comedy background and anyway, so she worked with Anne and they did five years together on Saturday Night Live, got the Emmy and the whole thing, and then Anne wrote this and finished Hitters by the way. In fact, she's turned down doing SNL at first because she said, I'm doing this book called Titters. Anyway.
Obviously she put time into that, but it took the gig. I'm sorry, she really almost said no. But in the meantime she wrote a personal pilot called square Picks, and it's basically about her early middle school years, meaning because she was so advanced educationally, she was like a little nerdy girl who thought everybody else was fabulous. And the show again and of its time. I say that John Hughes must have seen it, because after that
he did well his movies, including Breakfast Club and Pretty in Pink. It was suddenly teenagers could be a little bit less than perfect, and the story was about those outsiders. And then later, of course there is Creaks and Geeese. But Anne again did something that was so original that you saw kids and plus the production dynamics on that. The music track was some of the hippest music you could find. She had the waitresses do the theme song.
She had de vo on. She had a vision that nobody was doing in television, and that was at CBS, and she got a year and then they canceled it. It's a little bit of a cult thing now, but we had a great time to know and so that's we originated our relationship around that, and then onward. She had a bunch of Broadway stuff too. She was a bookwriter for the Leader of the Pack, and then she did
Guilda's show, The One Woman Chokie Guilda and Odd as an El. She and Rosie really did a lot of Guilds material and they created the Nerves and refrigerator repair Man. I did a lot of their stuff, and Ann again continued to write on her own and then I met her, and then what else can I say? She was a fabulous friend. I loved working with her. We laughed a lot, and we kind of our journey as writers
was really how I feel we should live our lives. Worked hard, but we had fun and we decided to make writing not only We made it an opportunity to do things that most people probably don't do well they do. We used to go on vacation and write. We used to go we'd rent a hotel room for the weekend and go downstairs and use the pool, and one of us would sit at what was said that an old fashioned computer. One of us would sit up the computer writing, the other one was in the
pool swimming and giving throwing ideas out. So we had this original way of working. We so it was fun. It was great, and we worked. Sometimes I was on the board, sometimes she was on the board. Sometimes ideas. Then we would fashion it and then we would refine it, and then we would put it down and I would look at it. We'd always work on a connecting computer and I would read it, or she'd hand me it and I'd look and then we'd fix it. And that's how we
worked. We worked very much. Our minds were very hooked up. Was really a very It was such an easy way to write for me. The only thing that she used to bother me about was my grammar wasn't so great or my spelling. Her dad was a teacher, so whenever she was correcting stuff. I would go and her father's name was Pat, I'd say, oh Pat beats a spear. Yeah. I know her family. I know her sister, her nieces, and of course I was around for her when
she brought Jailean home, and she was a great mom. Great I think that was her greatest production. It was your daughter getsy Woman. You mentioned the movie. Can you talk a little bit about what you're planning on doing and why now? She got two years ago very suddenly. I was literally texting was from the day before, and it sounded like there was no reason to be concerned. She had a sciatica condition that kept her bedridden sort of speak. She couldn't move very easily. So we had a few laughs.
But I'm not going to mention them here. Maybe it'll be movie. I don't know. But I got a folklo at one thirty in the morning from her daughter, and I was in New York and this happened in La and she lives. She lived up the street from me. We lived on Dokki, up the street from each other anyway, so the past thing was very intense for me. We had just finished writing another project, which the association with solaris who was doing this movie, came from Aunt. She brought me
into meet with the Claris group on a project. We were doing it all Funny Boys, which is about the early days on National lamp Room, about the girl who comes to New York in a suit and a little suitcase and walks into Laham. I'd say I described it as a show that when Madman ended on Madison Avenue there was a new man coming. Instead of a suit, tie and a hat, they wore jeans, a T shirt and a baseball cap. And instead of Martinis, sex, drugs, rock and ball.
Anyway, she and I'm in the same category of that era, although many experiences were different in terms of where I was working. I was doing theater, she was doing SNL. We managed to put together a show about a woman coming to a comedy show which was going to be basically The Lampoon, and then Michael Bull, who is involved in this project through his company, optioned it and we finished writing up a very intense, very almost complete
scripted I think a lot for the show and two weeks. That was two weeks, and then she died two weeks later, and it was very sudden, and so it's two years ago. To answer you a question a little better is why now? Why not? I think this is a good time to reflect on who she was. It's a little bit of time. And by the way, hear her in my head going, come on, let's do this. She loved being and beats. It's not like she wasn't planning
for a legacy. She was. I don't mean that like superficially, but she knew somewhere that she signed every single book she ever bought or was got with her name. Who does that unless some day somebody's gonna make a movie about you. It wasn't because she was afraid that someone's gonna steal it. I was like, there were things that I knew about her that she was establishing her name and her value and I hope that this allows that. And
also her daughter didn't get to spend enough time with her mom. She was only eighteen at the debt, and it's time for also, I think for everybody to get a taste of what this woman was. And I want to do it. Michael brought it up and I said, yeah, I'm in. I want to do it, and I also want to protect who she is. And a few years ago there was a cover story. I think it was this Vanity Fair and it said women are funny. You can look
back one up too. It's that cover where it's Tina and by Amy and a bunch of other comedians and they were doing this whole article about how women are finally funny, and Anne a week or the next issue wrote excuse me short a letter to the editor which they published. That's also part of it. I'm going to try to pull that from the archives for this where she
said, excuse me, when did women start to be funny? And then she berated them for saying it without mentioning the Four Ladies, the Four Fathers, the four Mothers of comedy, that there were women who were funny, and one of the other things that Anne and I worked on. So in terms of why do I want to do it, I also hope that some of the other archival materials that she created, and certainly a lot with me, a lot we can look at and take it avantage of. And there
was another project that I hope we'll follow this one. It's called The Girl in the Room, which is interesting because the movie's title now is The Girl who Wouldn't Be King? The Girl in the Room was done as an example of women in comedy through have time, and we did get some formidable interviews. She and I did one, but I don't know how much we can use that, but we can use Phillis Diller, Joan Rivers, Penny Marshall as just examples of some of the people we interviewed and got on tape.
Made a sizzle and hopefully someday that could be a very big project for us. Be happened. I have another partner on that, and we never got to finish it, so to speak. So after Anne's finishing Square Pegs, along comes a whole bunch of about the women produced her as because she was the first of that level she had. She ran her room, she was up showrunner, which is rare. She ran her show, and then later we worked on the Stephanie Miller show together. She ran that show. So
she's always been a showrunner, which is phenomenal for a woman. Susan Harris of course follows in that she came on after designing Women name escapes me, but it was that was a coin too. But anyway, there are women, and now you've seen many women who are showrunners. It's an avalanche finally not an avilet, but a little more down the mountain or up the mountain? Right, how do you even approach doing this documentary on obviously one of
your best friends, you're a working partner of so many years. To take somebody's life and try to condense it down into an hour and a half two hours, we have to figure out. And I think we're talking about this a lot, which is like your question why now and why? And it's about her legacy as an original an og and she was that and also coming from what the era was, What is it that takes a little girl who
wants to be the king she didn't want to be the sideline storyline? And she has a funny backstory, and there's some very funny stories about her as a young woman that are being inspiring and entertaining. The thing about doing something that i'm documentaries to me and I do them now. This is my pleasure and I am more of a passion for it than scripted, is that I want to entertain. So my approach to this and I think I mentioned it to my ar leagues on this, and I really feel that this is a
unique place for storytelling. Is not chance to do a documentary. I would like to do a memoir for her, like she always wanted to write her memoirs. And she has some several pages and I'm hoping, with johnie Lene's help, we're going to get a hold of these pages. They were in her computer. Obviously she was in her years to come. She was planning on doing her memoir And I don't think I've just finished a feature that's out
now getting distribution deals and all that. And that was the same approach I had on the Lost Weekend A love story was I wanted to do mate Pang's memoir of that time versus just document I wanted a story to go on. So for me, the story of Anne is this character who came up in an era when girls were the right clothes and a girdle. You wore girdle, and women were like subservient. They were second. They were second and you. The way you got into the business was on your back, so
to speak. But the whole vision of your future as a young girl was yeah, maybe you'd get a job as a school teacher. But the idea was you were going to find your mate and have children and live a very traditional story or life and here she was. She had the nerve not to just do it that way and create I think a world that women can have been too. Now they don't think about it anymore. They know they're going to be scriptwriters, they're going to be producers, they're directors, anything goes
cinematographers in the industry. And then, of course, I think now there are more women doctors than there are men. I think I'm not sure, maybe not the specialty, but you know what I'm saying, it's like the door opened now. She wasn't in other fields barre in comedy. I think she gave an army the idea that it could happen to others. But she also was a very loyal woman to other women. She hired most of her staffs who always have women on it. It was very important to engage in
that. I really like that distinction of memoir versus documentary. That's very crucial. I think that's going to be my thing. I think that's what I want to do. I want to do memoirs. I like that approach. I liked hearing, and we have a lot of footage. She speaks a lot. She did a lot of interviews, so we can really allow her to live in this film as well as tell about it. And I don't
have a final saying on if we're going to have another outside narrator. We might, but I'm more inclined to let the story tell itself when I did last Weekend, there is there are no except for the except for Julian Lennon. Nobody a present day is visible until what I call the fifact or the last act, and then you see what seventy looks like instead of seeing a bunch of seventy year old people talk about John Lennon. We interviewed like Alice
Cooper. We kept ten minut the dark. There's a lot of voiceovers from people we identify them, but I didn't want it to be seen. I thought it would be challenging to stay with the story so that you were with the time it was going on, versus interrupting it. But that's my own taste. I like it. I got that I was inspired by the Amy Winehouse film, which was like definitely a biography, but it was very You didn't see anybody except her father. Everybody else was voiceovers, and I like
that approach. I like the storytelling, and I also, like I said, the memoir of it that it feels like you get intimate and you feel what was that person going through and what was it like for them? And I know that I made it something Everything was great, But the truth is Anne had a lot of women who go through the life that he experienced a certain loneliness and a certain how do you get through this? Sometimes you want to have a partner, Sometimes you do want sort of traditions, and then
you've made a choice. Right. It seems to be something where we can now have documentaries that are being or films I should say, that are being narrated by the subject, which is great, and sometimes it works really well, and other times you get those creepy things like the fake Anthony Bourdain voice that was AI generated. I think it's being the person so close to her
and she's not here to tell it. I feel like I know how to create what I call the emotional truths of her in a way that just documenting her life through archives and telling that obviously the chronological story of a life can't be done. I hope for that. That's what I hope for, is that I can talk about how certain things crushed her and that she kept going you know what I mean, something about her will and something about yeah, something I identify with two. You go on a path in life, you
don't know where you're going to wind up. And her death was a big wake up call for me. Wait, huh, We're supposed to give biild ladies together, right, I'm supposed to be doing what they did at the end of Missus maidstil. We're supposed to be watching TV in two cities lapping. Hence it changed me a bit. It's it. Oh yeah, it almost sounds like you you lost an arm or something because she was such a part of you. Yeah, I don't know. I find writing very hard
right now. It's I'm so used to writing with a partner that a little frozen. I don't know. It'll may come back, I'm hopeful, but if it doesn't, it's okay. I've got a lot of I am working on my own memoments. I'm not going to wait. I'm not gonna wait for someone else to write it, so to speak. But yeah, it's great and I'm very happy that I get to talk about her. It makes me feel better. It does. It's bizarre, would you indulge me? And whether happier or said, can you tell me one of your favorite and
beat stories. We were very close and we have monosyllabic names, Right and Eve. Everybody mixed us up. Everybody they call her Eve and me Ann. So she was coming to my house one day to work. She knocks on that door. I go to the door and I go, who's there? She goes and it's Eve. She called herself me and she called me her and I went and this is insane. I'm opened the doors and they
just got this in reverse. Even she confused herself. But that was one by another time, I would say one of my happiest, our funniest members. We just did silly shit. The BBC came to interview us to see how we write a television show, and we were sitting on opposite es of tables with our computers working, and they were filming us. Hey, we call it hey shoot our feet We see our feet dancing. And then one time after we did a pilot production, we went to his frienchial restaurant and
we got drunk. We did a lot of drinking together and we danced on the table so good. She always what used to bring that up? Remember we danced on this table. I was a good memory, Miss Brandin, thank you so much for this. I hope we can do this again sometime. This was such a pleasure. I'll see you on the red carpet. He blockers up, knockers, knockers on, ladies, get your lockers up. Hey, hey, come on there, girls, go those stories back and get your knockers on. Small on they come on there, you on
your lady there get no shower backing snocker zone. Here we go. Now, doesn't that make your navel tinkle? Repreciating? Your knocker's not gonna Oh come on, girls, you're looking wonderful. This will go through. You wanna be very, very vibrant. You're gonna try They come on there your shouldies backing its own. There we go. We're about to start on my chumping offers were ladies get up and much through the room and then knockers.
Helld hi have me to breathe movie that we have something to give in the world today. Are you ready? Don't come in some some much chump the knockers ladies? What when holding ladies, you're not my change? Come on, it's easy thing to know. I bet when you go home you're my try throw your living rooms. Were your knockers held high? Can you look out what your husband and say, Look, George, my knockers are up. Come catch me. Yes? Were you working girls who go back into
the office of boy. I want you to do me a little tape. I want you to throw your shoulders back, get your nackers up, big smile on your face, and your boss will look at you and say, damn, Beatrice got her knock hers up. Oh yes, here's to it.