Interview: Truett Pratt (co-singer of “Happy Days” theme)

Fifty years ago today, the classic sitcom Happy Days premiered. 

To celebrate, rock out to an interview with Truett Pratt, half of Pratt & McClain, whose 1976 recording of the theme song became a hit.

What were you doing professionally prior to Happy Days?

I was a child. [laughs] 

I have been told that I was singing harmony at 3½ years old. In my youth, I spent a large amount of time with my musical friends and was involved in both church and school music, vocally and playing first trumpet in the marching band. 

My senior year, I provided the musical entertainment for the Miss Teenage America competition in our South Texas region. Six weeks after graduating, I got a call from the entertainment unit of Chrysler. 

They were putting together a massive promotion—they gave 7,000 cars free every year in small towns and at colleges because the driver education students were there but they had no vehicles. They were giving cars because they were good citizens. A year later they bought them back and sold them as demos. This was 1967-68. 

[They sponsored a singing group] called The Spurrlows, and after a 30-second non-rehearsed audition, I received an invite to [join] the 26-member act. I was the youngest. 

We traveled and performed everywhere from colleges to high schools to public venues like malls, sometimes 4-5 shows a day with costume changes. 

I did the television appearances. I was on the centerfold of Life magazine with our cars.

The other folks traveling with us were, for the most part, active in their churches as well. Most of the nights on the tour, they performed a sacred concert of beautiful traditional music.

One time I woke up mid-morning and I was fully dressed on a stage performing for about 600 people. I’d arisen, showered, got in my car, went to the performance, and came into consciousness on stage. And I believe it was the second wardrobe change of that show! [laughs] I was thoroughly worn out in under 11 months.

After [doing that] tour [for a year], I attended a well-known university for one year. The policies of the school and the (most important) location soured my attraction and was truly a “down” year for me.  Fortunately folks had seen me and my talent, that leading to an invitation to come to Los Angeles, the start of my career.

What songs were you singing?

In the daytime, our 90-minute performance [included] contemporary pop chart hits and traditional, well-known tunes. The night was a first class, more formal show, in tux and black tie.

How did you and Jerry McClain meet/start working together?

I moved to LA when I was 20 in 1970. About three or four months after I arrived, I got together with Jerry. My roommate had known Jerry from the music business in Los Angeles. Jerry and his wife and her twin sister had performed with a number of mid-60s pop groups. They’d had some success and done well in the commercial area of life as well.

My roommate thought Jerry and I would be a good match because I’m—not egoistically speaking—advanced in music. I sang and was first trumpet with the marching band and jazz band. I sang in church. I was eclectic and could handle different types of performance. 

Jerry and I decided to move together on the future. We put together a very slick Las Vegas-style rock and roll act. We employed James Fitzgerald, husband of the movie star Jane Powell, to be our manager.

He notified agencies in LA. We put on an audition by renting a small rehearsal studio that could seat an audience of 200. We set up with matching outfits and we did 18 minutes, took a three-minute break, then did the same 18 minutes again—repeated for three hours. The agents who came to see us could come when they wanted and stay as long as they wanted. The next day we got a call from William Morris, the biggest agency in the world. Other agencies made a bid but William Morris was immediately organized and had the connections for our type of act. We started in the business at what I call the middle. 

What was the name of that act?

Pratt & McClain and Brother Love.

Was Jerry your age?

Seven years older.

Your version of the Happy Days theme was used for seasons 3-10 (out of an 11-season show). How did you get the gig to record the theme?

We were already a successful nightclub act. Our business [model] was to tour about six months off and on, and [spent] the other part of the year working on our recording. Our first album was completed in late 1974. We got some airplay on album stations, but no blockbuster success.

One of my producers [who was also my former roommate] Michael Omartian moved offices to Warner Bros. We came off the road and, in April 1976, had a meeting with Michael and Steve Bari, who already had 21 gold singles—the Turtles, the Grass Roots. 

We discussed the fact that the show Happy Days was an instant hit and we should make a “Happy Days” record. The song was written by Norm Gimbel [lyrics] and Charlie Fox [music]. I guess you’d call them well-known. The 20 seconds you hear on the show were studio singers.

We got permission from the clearance houses to record that song. The first meeting was a Friday morning. Since we used the finest players in the industry, we couldn’t get everyone for five days. By the following Wednesday afternoon, we’d done all vocals and background instruments. By Friday night, it was hand-carried by couriers to the largest radio stations in the country for national release at 8 pm in every time zone. First meeting to finished record in seven days. [Then] “Happy Days” was being played every hour on the hour.

The song was on our second [and final] album, Pratt & McClain Featuring Happy Days. 

Did you write for your albums?

Two of the songs on the second album are mine: “California Cowboy” and “Summertime in the City.” 

Was your “Happy Days” song written to be used on the show or intended only to be a single?

Once the show was a hit, Garry Marshall [the show’s creator] contacted Gimbel and Fox and they wrote up the lyrics. I don’t think it was ever intended to be a single. It was intended to be used for the show but then became a single as well. Almost simultaneously. We saw a business opportunity to give product where there was no product.

Were you already a fan of the show?

When you travel the way we did, and are otherwise busy in studio, I didn’t have much time to watch TV. I was familiar with the show but not an avid fan. [But then] after viewing episodes, I became a big fan…and a grateful fan!

What interactions if any did you have with the stars of Happy Days?

We were never on set. We didn’t have any affiliation with the show other than being booked on some TV talk shows—Mike Douglas, Merv Griffin—with some of the side actors like Ralph [Don Most] and Potsie [Anson Williams]. They were guests, not singing with us. The shows would pick us up in a limo. When we’d arrive, there’d be people everywhere and we could barely get out. It was like the Beatles!

I would see Ron and Clint Howard at a Christmas/Chanukah party I attended for some years. They were great, very down-to-earth. 

Have you met any of the cast over the years?

No. But others. Christina Applegate babysat kids in the neighborhood just before Married… With Children. I can’t remember if she babysat mine. My older son learned to shoot pool two houses down with Mr. T. The neighbors were all friends. It was a quiet neighborhood in Sherman Oaks. Henry Winkler’s house was less than a mile away. I remember standing in line at the grocery store having a serious conversation with Don Cornelius of Soul Train. That’s what life was at that time.

Is Jerry McClain still with us?

He is, what’s left of him. 

Our second release [the album with “Happy Days”] hit the top 40. We’d be partners for 7-8 years. We truly became brothers. Our traveling life was usually interesting. It had its ups and downs. After our second release “Devil with the Blue Dress” hit the Hot 100 on Billboard, he started partying and got completely addicted to cocaine. It started out with Jerry pulling no-shows for radio promotions. He was hanging out with what he called a record promoter—I called him Jerry’s new girlfriend—who was really a coke dealer.

He never really came back. He hit the skids, as most addicts do. I got away from him as quickly as I could. But he damaged my reputation deeply. By the time I started to unravel the mess, he had drained every dollar of our bank account. This was about 1978-79. I don’t lie, cheat, or steal. I learned a big lesson watching my business partner lose everything. 

I had to sue him five years ago. A friend at Warner Bros. called me. I was the first recording artist he’d worked with at Warner Bros., 40 years ago. He was the worldwide head of royalties till he retired two years ago. He asked how I’d been liking those “Happy Days” royalties. I said “What royalties?” He said he’d call me back in five minutes but called in three. 

He’d hit one button on his accounting computer and brought up the past 15 years. Jerry had called a secretary in the royalties department to somehow [redirect my portion of the royalties] to his house in Burbank. He also forged my name.

It turns out Warner Bros. had never failed to issue me a royalty check every six months for the last 47 years. 

His behavior and choices at that time [led to] a very long recovery. It’s horrible… I wish him the best.

I’m so sorry to hear this. For how long was your money being sent to him?

Probably 30 years! 

Did you assume you weren’t getting payments because the royalties had simply dwindled to nothing?

Of course.

So you get royalties now? 

Yes. It’s pretty steady because of streaming—Apple Music, Pandora. It doesn’t pay the bills now, but years ago it was a lot of sales.

Do you know roughly what you’ve earned from the song? 

No. Forty-seven years is a long time!

Where do you live?

I got turned off by the ego. I’m just a Texas boy, two feet on the ground. I moved from California back to my hometown San Antonio around the end of 1997. I’ve been around the world 4½ times. I’ve had dinner with kings and dated their daughters. Nothing comes close to Texas Hill Country. I was born and raised here. The residence I’m talking to you from, I first spent the night at when I was 6½ years old. 

Children?

I have two sons, two daughters-in-law (six college degrees in that bunch), two grandchildren by each couple, all very happy and doing very well. I also have two buttons on the chest of my shirt that pop open whenever I talk about them!

What are you doing these days?

I am just enjoying the heck out of life, brother. I have assets, multiple streams of royalties. I did 12 cruises in the last 14 months with my girlfriend Jackie.

I had to be careful for a while because of what Jerry did to me. I’m multi-talented. I’ve always been a real estate animal. I started learning all the aspects of real estate development. I went to contractor school and got a license in California. 

I started two companies. One was called Airport Flyer Systems. In 1983-85, I created and put into action the airport bus system in Houston, TX. It’s the fourth largest city in the U.S. in population and the largest city in the world in square miles and has two airports—but had no bus system! 

To accommodate the schedule of my two children, to be best provider I could be, I got into the finance of real estate. The way the lifestyle is in that industry, I could have control of my schedule. I started at the very bottom. I was an assistant processor and complete gofer in the mortgage business. Spent 1½ years learning the business at a wholesale mortgage money source. I became a full real estate broker. I have had a mortgage company for just under 25 years. I ended up lending in California and Texas—two completely opposed systems.

Have you ever participated in a Happy Days-related event (reunion, convention, documentary, etc.)? 

I have not because back then they didn’t have them. 

Would you now?

Sure, of course. Why not! I am a friendly guy and have always valued interfacing with folks.  My friends jokingly compare me to Will Rogers who “never met a stranger…”

Do you have any mementos from your Happy Days experience?

Gold record in my hallway, photos of all kinds of folks, and volumes of memories.

What did you think when you got my interview request?

I’d been approached before but those people were not as succinct as you so I thought I’ll answer you. [laughs] 

How do you look back on your Happy Days experience?

Tremendous gratefulness. 

I have been blessed with a colorfully unique life experience, one heck of a rollercoaster ride—a truly mind-boggling ride—with a view from the top of the world. 

From “Happy Days” success, I gained the seasoning to encounter other business challenges and to achieve success in most of them, allowing me to own my schedule and continue to travel the world. I’m truly enjoying the fruits of my labor and spending time with my posse. For example, my older son and I own the newest Gold Wing touring motorcycles (among others) and will be leaving on a trip to the western U.S. 

I’m occupied at this time writing [a book]. The title: Memoirs of an Almost Rock Star and How I Survived.

Why “almost”?

We could have gone much further if my partner had not gone to another planet. 

I [still] perform 4-5 times a month when I’m home.

And I am happy, the most important factor of all. I am truly living in Happy Days!

Interview: Anne Collins Ludwick, writer for “Wonder Woman” (1977-79)

Anne Collins Ludwick (then Anne Collins) was not the first female to write scripts for The New Adventures of Wonder Woman. She was the last. To clarify, she wrote the last five episodes (among others). 

On this list of the 10 best eps of the show, five (including the top four) are Anne’s (one based on a story idea from someone else).

I’ve covered various aspects of Wonder Woman before (from two granddaughters of one of his creators to two people who sang on her delicious theme song).

But I was inspired to find/interview Anne because of this line in a 2019 article: “it isn’t super easy to find out information on her.”

That’s throwing down the gauntlet to me.

Luckily Anne did not throw up her bracelets to deflect me. She kindly agreed to an interview and I excitedly share it here:

How did you end up writing for Wonder Woman?

Somewhere in the process of writing three scripts for Hawaii Five-O in the mid-70s, the show’s Story Editor, Curtis Kenyon, helped me get an agent, John Schallert. Though I was working at a PR firm and living in Denver at the time, John successfully pitched me to the people at Wonder Woman, who were looking for a woman to join its writing staff. So I packed up my VW Rabbit, sublet my apartment, and drove out to LA, fully expecting to return within a month once they discovered how inexperienced and untalented I was. 

But to my surprise, I discovered I could, in fact, hold my own when it came to working with and, frequently, heavily editing the work of the (mostly male) freelance writers to whom the show was giving assignments. The Supervising Producer, Bruce Lansbury, was such a joy to work with and so creative and sooo supportive that I stayed in LA for the next seven years and never looked back.

Did you pitch storylines on your own or as part of a team, or were writers assigned certain premises by producers?

Bruce, the studio and the network had a vision for the show, which in its second season saw it move from WWII into the ‘70s, so there was already an informal list of suggested and approved storylines. At that time TV programs were required to utilize freelance writers. We would contact writers we thought would “get” the show and assign a story area to them, though they were also free to pitch their own ideas if they wanted. I, too, could and did pitch ideas, of course, but as story editor I mostly helped outside writers develop their stories and would rewrite/polish their final drafts if/when necessary.

Tell me more about the informal list.

The “list” was a compilation of thoughts and ideas that were tossed around in meetings Bruce Lansbury had with various studio, network, and production company heads as the season progressed. Bruce, in turn, discussed these storylines or, quite often, mere arenas for storylines, in subsequent meetings with me in hopes of determining what writer might be particularly well-suited to tackle which arena. So any “list” I ever had consisted of hastily scrawled, long gone notes. This was waaayyy before index cards on bulletin boards.

It looks like you first wrote for the show during season 2 (of a three-season series). Were you already a fan of the show (or the character)?

I never saw a single episode of Wonder Woman before I joined the show. However, my two brothers and I were avid consumers of DC comics growing up so I was familiar with the character, although I must admit, she was not my fave because, unlike Superman, Superboy, or Surpergirl, she couldn’t fly. (Never was a fan of that invisible plane.)

Is there one story about your Wonder Woman days that you tell more than any other?

My hands doubled for Lynda Carter’s in the episode called (I think) “The Man Who Made Volcanoes.”

Oh, and also, I was walking across the lot (Warner Bros. in Burbank) one day for some reason with the show’s producer, Charlie FitzSimons (wonderful Irish guy, Maureen O’Hara’s brother). As he talked I became aware of a guy walking toward us, someone with the most electrically blue eyes I had ever seen in my life. I couldn’t take my eyes off his, and suddenly had no idea, and could not care less about, what Charlie was saying to me. I recognized the guy’s face, but it was his eyes I’ll never forget. Paul Newman, in the flesh.

Any other funny/inspiring/weird anecdotes about your Wonder Woman experience?

There was one Saturday or Sunday early on in my Wonder Woman stint that I absolutely had to get into my office to write/rewrite something (this was eons before laptops, remember). However, to my horror, the key I was given to the WW office suite would not work. Desperate to get to my typewriter, and more than a little pissed at the key, I took the door handle with both hands and shook it in utter frustration. Causing the lock to break and the door to limp open. I went straight to my office and got to work.

Next thing I know, a wide-eyed security guard was peering at me from around the corner of my doorway, hand on his nightstick, ready to use it on whomever had broken into the suite. I apologized for breaking the door but it was an emergency. I just kept working, and he finally went away to get the door fixed. He also filed a report, so that come Monday everyone knew the story and thought it was quite amusing, and appropriate, that a woman employed by Wonder Woman had busted down a door.

What was it like to be a female writer in Hollywood in the 1970s? How did the men involved with the show treat you?

Frankly, so grateful was I to be getting paid for something I absolutely loved to do that I never gave my gender much thought. I never came close to being pressured into sleeping with someone in order to get work, and I never felt like I was being patronized, or that my work was in any way discounted because I was female. When dealing with some of the older male freelancers (and there were quite a few back then that had written for network TV since its inception), I occasionally detected some arrogance and resistance to my notes on their scripts, but I don’t recall any major incidents. I felt like the producers on the show respected me because I could, and did, get the job done promptly and well.

At the time, did you reflect on the number of women vs. number of men writing for the show?

No, because at that time, there were very few women writing action-adventure, and there was also nowhere near the pressure to hire women and minorities back then that there is now. True, I was hired by WW largely because everyone, including Lynda, felt the show could only benefit from including “a woman’s POV,” but I’m not sure my gender ever really had a big influence on the scripts we churned out.

Do you remember any instances where you felt strongly about an idea that didn’t make it on air?

No. Hey, I well understood the perimeters of what we were creating: WW aired at 8 pm on Friday and was considered “family” programming. Which meant no realistic violence, no swearing, no drinking, no depiction of deviant behavior, no adult situations. The network’s Standards and Practices Department scoured every script and finished episode to make sure nothing that could be construed in any way as offensive made it on the air.

Did you interact with Lynda Carter, and if so, what was your impression of her? Did it change over time in any way?

Lynda was a sweetheart. We didn’t hang out, but our interactions were always pleasant and she always came across as genuine. She wasn’t hired because of her acting skills, and she no doubt knew that, which had to’ve made showing up for work every day somewhat terrifying. But by golly she did her best, and I have to say, whenever I happen to catch an episode, I’m struck with how likeable she comes across on screen. Not just because of her considerable physical beauty, but she has a nice, watchable presence. Probably because she is/was basically a sincerely nice person.

What is your favorite episode that you wrote and why?

“Phantom of the Roller Coaster,” probably because it was such a colorful arena (who doesn’t love amusement parks?) and I have an affinity for Raggedy Man-type stories. It started out as a single episode, but the shoot at Magic Mountain went so well that we made a two-parter out of it, though I forget when in the process that decision was made, or exactly how much more shooting was involved.

What did you do professionally after Wonder Woman?

After WW was cancelled, Bruce Lansbury became the Supervising Producer on Buck Rogers. To repeat, Bruce was one of the kindest, merriest, most creative people I’ve ever known, so when he asked me to come aboard as Story Consultant, I immediately said yes. I was on staff on a couple of other shows after that, and eventually wound up story editing for Matlock while raising two kids in Seattle. I have two fantastic grown-up daughters. 

What are you doing these days?

Living in the PNW, enjoying my WGA pension, and writing, though I’m not sure yet exactly what.

Anne 2022

Are either of your children fans of Wonder Woman?

I don’t think either of them have seen an episode of TV’s Wonder Woman, nor to my knowledge have they read a WW comic book. They both saw and liked the first Wonder Woman movie but passed on the second one (as did I).

Have you participated in any Wonder Woman-related event (comic convention, panel, documentary, etc.)? If not, would you be open to meeting fans and signing autographs?

No thanks. That kinda stuff just isn’t my thing.

Are you still in touch with anyone from the cast or crew?

No. Although I am still in touch with novelist Alan Brennert, the most talented freelancer to ever write for Wonder Woman.

When was the last time you watched Wonder Woman? How did you think it held up?

The last time I caught an episode was probably two years ago. As I said, Lynda was very watchable, but oh my gosh, the production was so amateurish compared to what’s on TV now. The special effects were dreadful, the storyline was simplistic, the dialog was utilitarian, and the characters were one-dimensional. But that was the way episodic TV was back then. The networks had a very low opinion of their audience; we writers were instructed to repeat info important to the plot as often as possible, and to spell things out for viewers instead of relying on them to figure things out. Pretty much the opposite of the way TV is now.

Do you have any mementos from the experience such as set photos, a script, or anything from the set?

I think I have copies of all the scripts I wrote for the show in a trunk somewhere, but that’s about it.

What did you think of the first Wonder Woman movie?

I loved it. It struck just the right tone and it worked. There was one scene—I think Wonder Woman making her way through a battlefield—that was incredibly moving. I didn’t bother to see the second movie after reading the reviews.

What did you think when you first heard my request?

I thought, who the hell would be interested in hearing about my experience on a short-lived TV show that ended more than 40 years ago?

How do you look back on your Wonder Woman experience?

I loved every single minute of it. Needless to say, as a kid originally from Toledo, Ohio, I’d never been on a real movie set before (though I did participate in some student productions during my two years of grad school at UT Austin). It felt good to be part of a major creative endeavor and to have my work appreciated (and well-compensated, though little did they know I would’ve gladly done all that writing for free!).

If the experience changed your life in any way, how?

Though I don’t remember the exact circumstance, I do remember Bruce Lansbury, in response to some expression of self-doubt I’d just made, sternly admonishing me, “You are a writer.” Not sure if he changed my life at that moment, but he definitely defined it.

Anything you’d like to add?

I’ve bored you enough. 

Anne, no you didn’t. If you don’t believe me, put the magic lasso around me…

Interview: Jim Youngs (Ariel’s boyfriend Chuck Cranston in “Footloose”)

In Footloose (1984), Jim Youngs played Chuck Cranston, boyfriend to Lori Singer’s character Ariel Moore.

Jim’s behind-the-scenes recollections of the experience (interview conducted in 11/20):

What were you doing professionally prior to Footloose?

I had been acting in town for about three or four years. I got started in an interesting way.

I had been living in Long Island and my sister Gail, who was an actress at the time, made me aware of an open casting call in New York City for a movie called The Wanderers. I had just begun to get pictures and was thinking about pursuing acting. Gail said there’s all kinds of gangs in this movie and they’ll need extras. I was a child actor in high school plays and my brother John Savage was already a star, but I knew nothing about the acting business. 

I went to this interview and the first person who saw me was named Craig Zadan, assistant to casting director Scott Rudin. They both went on to run studios, if I’m not mistaken. They liked what they saw and brought me to see the director Philip Kaufman. They asked me to read for Richie. I was flipping through script on the way to Penn Station and saw that Richie was the lead. 

[Another day, I auditioned.] Phil played it back on the monitor—they never do that, play the audition for the actor—and told me I was a natural. I said “Do something about it.” (laughs) They said they couldn’t give me the lead role [because they felt Ken Wahl was a better fit for it], but offered me the role of Buddy. A few weeks later, I was on the streets of the Bronx making a movie. 

In one month I went from bartending and running a nightclub in Long Island (a small, famous concert hall called My Father’s Place) to being in a film. 

The film came out five months later and people said “Go west, young man.”

I turned down the original Porky’s. Instead I did a series called Secrets of Midland Heights. That folded after 14 episodes. 

I haven’t done [an interview] in decades, so let me know if I’m talking too much.

You’re doing great. I want you to tell me a lot! You mentioned your sister Gail and brother John. Any other siblings?

[My other sister] is Robin Young, an Emmy-winning journalist, the dynamo of the family.

My sister Gail Youngs was married to Robert Duvall. She was an actress and is now a healer. Powerful. 

My brother John Savage was up for an Oscar for The Deer Hunter. He’s still in the business. One of the most prolific actors around. 

Why does he have a different last name?

When he joined the Actors Guild [sic] in New York, it was still that phase of “Pick a name.” He and his friends De Niro, Walken, Pesci were the first to say “I’m not changing my name.” But another guy had the name John Young (no “s” at the end) so my brother took the name John Michael Savage. When he got to Hollywood he dropped the “Michael.”

Ever do a movie together?

I forgot—we did. I don’t know the name of it. We were Cajun knife assassins. B-minus movie. He asked me to come to New Orleans to do this. Terrible acting on my part in that movie. [It’s The Dangerous from 1995.]

How did you get the role in Footloose?

I had a small agent but she worked hard for me. It came down to me and a few other guys, like it normally does, and [at the same time] she brought me into CBS for a soap opera, which I didn’t really want to do. I had that actor’s attitude about soap operas, which looking back is ridiculous. 

At the interview, they said they would screen test me the next day. If they did that, I could not do Footloose. My agent called the casting director Marci Liroff—who became very successful—to tell her that if I did this soap opera I wouldn’t be able to do Footloose. They talked into the night and called me in the middle of the night and told me that I got Footloose. 

Why such a push for Footloose? Was there advanced buzz?

No, just that it was a movie, not a soap opera. 

How soon after you were cast did you fly out to Utah to start shooting?

Probably not long. Maybe a month? It was a class-A operation so things were done professionally. The Executioner’s Song (which I was in) was filmed in Provo, so it was amazing to be back. Everywhere you are there has a magnificent mountain range view.

Any funny anecdotes about your Footloose experience?

I’ve got a few. 

The director was a great man named Herbert Ross. That alone was interesting because he had done nothing but intimate dramas so people were probably wondering why he was doing this kids’ dance movie. I think he was the reason there was so much heart and soul in the movie. 

Herbert called me in one day and asked me to do him a favor: keep an eye on Chris Penn. He was a young, talented kid. I was the older of the kids in the movie. So I kept an eye on Chris as best I could. He was a wonderful, sweet guy. 

Why did Herbert ask you to keep an eye on Chris?

I was the oldest out of the youngest group. I had my senses about me. Chris was a gentle, beautiful person, but he came from the Malibu rat pack and they didn’t know discipline. He was a young kid thrusted upon fame. We were in a foreign land called Utah. 

Ah, okay. On with the anecdotes!

One Saturday, we had the day off, I drove around to the back the motel we were staying in. I saw smoke pouring out of Chris’s room. I went to his door and asked if he was okay. He said yes. He had bought a small grill and was barbecuing by himself…inside. I told him that wasn’t a good idea. He put it out, but it was too late—they had to redo the drapes and repaint it. It got barbecued out. 

His dancing scene—“Let’s Hear It for the Boy”—stole the whole movie. It was a showstopper for me. One of the greatest scenes I’ve ever seen in a movie. 

The night before we started filming, Herb called us together to let us know that Tracy Nelson, daughter of Ricky Nelson, was not going to be doing the role [of Rusty, the best friend of Lori Singer’s character]. She wasn’t comfortable with it. But Herb said a wonderful young actress was coming out from New York. Her name was Sarah Jessica Parker. I had no idea who she was. I realized only years later that she had done Broadway as Annie. Needless to say, she knocked it out of the park. 

I have to admit: I asked Sarah to go on a hike up Provo Canyon. I took a picture or two of her, which I still have. I had a crush on her. She was a stunning, talented, vibrant person. But she was 17-18 and I was 25-26, so it didn’t feel professional and I didn’t let her know. 

I had a tractor scene with Kevin Bacon. People call it the chicken races. Kevin and I filmed, then the second unit filmed long shots, dangerous shots. The dirt path that we were on with the tractors—on one side was a precipice that fell off down the hillside, on the other was a drainage system that I jumped into. (I did my own stunts.) There was room for the tractor with only a foot or so on each side. Looking back it was very dangerous and I’m surprised they let Kevin and I do it. 

At night they called us in to ask if we wanted to watch the dailies from the second unit stuntmen. It was a long shot of the tractors coming perilously close to each other, then they’d stop, to be edited later. On one of those shots, the stuntman playing my character skidded; the tractor veered to the side and he went off the cliff. The tractor went down the hill, too, but he jumped clear of it. Thank goodness he broke only his arm. He was there the next day in his cast saying hello to everyone. Miraculous that is all that happened. 

For some reason, they showed us this footage. So I went to the set the next day to finish the shooting. I was supposed to come at the camera (which was suspended over the dirt road at the same level as my head), duck, and stop. As I was about to do the shot, the stunt coordinator came over—a burly, older, Patton kind of guy—and said the tractor got kind of banged up yesterday during the accident. They patched it up but [now] it didn’t have any brakes. He said that I should just roll past the camera and it’ll stop. 

Looking back, as you can tell, this was all kind of ridiculous. You don’t put your actors in jeopardy because they could get hurt…and not be able to shoot. I did the shot—it’s the one you see in the movie. I raised the shovel, I dropped the shovel, I reached the camera, I ducked down, I took my foot off the gas. They called cut—and there’s the executive producer Dan Melnick getting a cup of coffee from the craft table on the side of the path I was on! I said “Dan, get out of the way! I don’t have any brakes!” He found a sliver to stand on as the tractor went by. I almost killed the executive producer. Poorly planned out stuff. 

Is there one story about your Footloose time you tell more than any other?

You got the three of them there. Oh, I got one more. I don’t know if anyone knows this but it’s a dandy. 

There was a scene where I have a fight with Ariel. Dean Pitchford scripted it to take place entirely in the cab of my truck. We have an argument, I slap her, push her out. Lori Singer and I were off rehearsing the scene. It was to take place behind the bleachers of the high school football field. I don’t know how, but I changed the scene [so that some of it took place outside of the truck] and she and I worked on it. We didn’t change the dialogue, just [added more] action. We told the director that we changed it around and asked if he would like to see it. He said okay. We played it out and he said “I love it. We’re going to shoot it.” That’s the scene you see in the movie. 

The head of each department on that film probably hated me immediately because the scene was now more expansive—Ariel smashing the front window [of the truck], smashing the headlight, and so on. [It now required] hours [more] of prep work. I [came to feel that] it was too violent for the film. Maybe it helped reinforce my character being an asshole. I was so surprised that Herb filmed it and kept it in the film. 

What made me think of it was I had done a few fight scenes so I understood a bit about how they work. Number one, you have to go about one-third of the speed or else it’ll be a blur. Make all your moves bigger, broader, and slower. It’s up to the other actor to sell it. We’d worked it out so when I slapped Lori, I am not near her face. It’s up to the camera to set up an angle to sell it. And the actress or actor has to sell it with their movements. The stunt coordinator who said I had no brakes was feeling left out—that’s my opinion. When I was about to do the slap, he stepped in to explain something to me. But Lori was in front of him and he did the slapping motion and hit her right on the side of the head. She and I had done it a half dozen times with no injury. When I tackled her and we fell, I absorbed all of her weight (and hurt my back). 

How did Lori react?

She was like “WTF did you do?” She didn’t fall down, but he coldcocked her. We were all stunned, probably took a break, got some ice, and continued. 

While working on it, did it seem like just another script to you, or did it feel like something special?

That’s the $64,000 question, isn’t it? I don’t have any memories of it being special. It was great, it was fun, it was professional. I was nervous [if I could measure] up to these people. I don’t think anyone knew. I didn’t even know who John Lithgow was, the greatest actor in Hollywood. I didn’t know Dianne Wiest, a brilliant Broadway star. I didn’t realize how lucky how I was to work with Phil Kaufman and Herbert Ross. I didn’t realize till I did movies later on that were terrible. 

What do you remember about your impression of Kevin Bacon?

A really, really good guy. I didn’t know enough at the time to know how special that is. Later I worked with some neurotic actors and I’ve probably been told I’m neurotic once or twice. I didn’t realize how great Kevin was till later—he’s a professional, get-the-job-done guy. He was sweet, kind. He was well-mannered, level-headed.

Chris Penn?

A wonderful, sweet young man. Guileless. What you saw was what he was—no hidden agenda. I didn’t see him for decades after, then I ran into him after Reservoir Dogs. He was a big man at that time, as you know, which ended up taking his life. But nothing [else] had changed—still the sweetest, most open guy I’ve met. Really broke my heart when he passed away. (chokes up a bit)

Lori Singer?

An absolute professional. Not many people realize that she was a graduate of the music school at Julliard. She played cello. A serious, intelligent gal. She would have to work hard to be goofy. She’d put headphones on and dance around. [At first] I didn’t understand it but then realized she had to work to be that kind of adolescent. That was acting. 

John Lithgow?

I didn’t have many times to be with John. I think the only scene when we were together was when he was giving a sermon and I was in the back sulking. I didn’t have any contact with him. But years later at a golf course, ten to twelve years ago, a friend of mine—the late Paul Gleason, I think—said he had someone he wanted me to meet. He brought this person out from the clubhouse and it was John. That was the last time I saw a member of the cast in person.

Did you two reminisce at all?

No, he was on his way, but first thing out of his mouth was “What a fine older human being you’ve turned into.”

Did you get to know Dianne Wiest?

Not at all.

Sarah Jessica Parker?

I didn’t have any work with her on the film. Just a wonderful hike in Provo Canyon. (laughs)

The physical confrontation between Chuck and Lori is difficult to watch. How was it to film?

It was very comfortable, very professional. She and I worked it out. All actors in that situation have to be careful but you have to have a governor on it. You have to be in control even though you are supposed to act out of control. That was a real metal pipe in her hand! You can see in the shot that there are all kinds of pads in my jeans and back—[well, you] can’t see it unless you are looking for it. 

Did you attend the premiere?

I don’t remember. 

How often were you recognized on the street? 

It wasn’t as much as you would think. So I guess people weren’t looking for Chuck. 

I’m not a tough guy. I’m kind a pushover and a sweetheart, a charmer. When people would say I looked familiar, I asked if they had seen Footloose. I was the bad guy. Their eyes would go wide and they’d say “You were the asshole!” I could see it coming, year after year. I took it as a compliment.

Do you remember what you earned for the movie, and do you still earn residuals?

I earned a nice paycheck, not through the roof, not low. I had nothing to bargain with, really. It was not a big film, mostly unknowns who were being given breaks. I still get residuals but it’s a sliding scale, so I kid with people: “[By now] it’s a nice steak dinner.” I am very thankful for that residual system and thankful that we have a union that makes sure I get [those residuals].

What are you doing these days?

I’m retired. I’ve been away from acting for a couple of decades. I was in some small films that I was the star of that didn’t work out and I got tired of the whole thing. I left the business about 1997. One of the last I did was called Skeeter and it was disappointing. 

My first love in life was golf. Within a year of [first] picking up a golf club, I was second best in New York State. I was going to be a professional golfer right about when I got The Wanderers. That shifted the path of my life. 

About 20 years ago, I started getting back into golf. I was working at a country club here in Los Angeles. Many actor friends of mine were members and they were appreciative that I was working there. I had a private, simple life. 

What was your job at the golf club?

I was a caddy. The lowest on the ladder but I did really well. I helped a lot of people. 

Caddies are essential workers for golf clubs! Any interest in acting again?

One day I would like to do some acting again. The timing has to be right. I’ve had health problems. My back’s been out for a year or so. Health first, then maybe I’ll hit up some friends.

When I first got to town, I was a big partier, but I was never much for promoting myself which might’ve been a mistake. I should have been in touch with every one of those people [in the Footloose cast].

Tony Ganios is a dear old friend of mine. He and I met on The Wanderers. He was in Porky’s. [In 2012], Tony [was trying to get a movie off the ground] called Daddies’ Girls, a continuation of Porky’s. All the guys from the original movies would be fathers now and their daughters are terrors. Tony brought me to the set years ago because someone from original cast had died and they wanted me to replace him in the photo shoot. But I wouldn’t [have been] in the movie. 

Where do you live?

Los Angeles. 

Any children?

No, I missed that boat, marriage and children. 

Have you ever participated in a Footloose-related event (reunion, convention, documentary, etc.)? If not, would you be open to meeting fans and signing autographs?

That’s interesting you say that. That is something I would do. 

Tony Ganios is probably the only hero in my life. A great man on many levels. A year or so ago, he said “Jimmy, you’ve got to [do] this autographing thing.” I said it’s been years [since I was in the business]. He said they’d love me and I’d make some money. 

My initial thought was “Who would want to see me?” But I’m actually still pretty good looking. (laughs) I realized I was being selfish. If people want to see me, I should let them see me.

[So] we were about to do that, but [then] my back went out and I couldn’t get out of bed. 

Why is Tony a hero to you? 

He was a Renaissance man. He was as strong as Hercules [and had] a mind that was historical and interesting and intelligent. He’s never changed. I wish more people would listen to what he has to say.

When was the last time you watched Footloose? How did you think it held up?

Last year. Whenever it’s on at a friend’s house, they’ll make me watch it for a little bit. I think it holds up, owed to Herbert Ross. Did you know that the writer, Dean Pitchford, collaborated on every song on that soundtrack? 

I didn’t. Do you have any mementos from the experience such as set photos, a script, or anything from the set?

No (laughs). I’m not a big collector kind of guy. I’m more into getting rid of stuff. I have the photos of Sarah Jessica Parker. For years, I had the belt buckle I wore in the film but as you get older you let things go.

Have you been interviewed before about this specifically?

Never. Or if I did back in the day, I can’t remember. Looking back, it made me nervous. I didn’t think I was that great an actor. I wish I had a manager or agent to help me get through it. 

What did you think when you first heard from me?

Humbled and proud. [We then talked about how I found him, which was tricky because he has almost no online presence, doesn’t currently own a computer though will be getting one, and has never had an email address.]

How do you look back on your Footloose experience?

Footloose was probably one of the greatest things that happened in my life. We didn’t know it would be on every month for the rest of our lives. I’m proud of what I did. I did the best I could. I’m so happy that it has such a following. 

Did you see the Footloose remake (2011)?

I never saw it. (laughs) Maybe the mojo would spoil it. I worked for a great writer at the golf club. He said to me “You see the new Footloose? Yours was better.” I heard that they did not change the script. How could you not update the script?

If the experience changed your life in any way, how?

Of course it did in the sense that I was in a classic movie that will be played forever. I’ve been fortunate to be in a couple [of other classics]—Youngblood, The Wanderers, [which I think is] one of the greatest movies ever. Started a dozen careers. 

Anything you’d like to add?

[paraphrasing a story he told: In 1987, I was in a movie called Hotshot, which filmed in Brazil. The soccer legend Pelé was also in the movie. When we were filming, I didn’t stay in a hotel. I lived with Pelé for a month—in all three of his homes! (laughs) First a suite on the top floor of a building on Copacabana Beach in Rio de Janeiro. Then his suite in São Paulo. Then we went into the jungle to his third house, a walled home.] 

(long pause) I’ve been talking a lot. I guess I needed to talk to somebody. [Because you write for children, I think you can be sensitive about this.] I’ve struggled with alcohol my whole life. Fifty years. I’m 64. 

I did Footloose, Youngblood totally sober. But I’ve been fighting with it my whole life. Not that anyone would care what I’ve been through, but I would like to address it so it might help others. We can talk more about it. 

[People who are struggling with alcohol] shouldn’t give up. 

courtesy of Lori Singer

Interview: Pamela McMyler (co-star of Steven Spielberg’s first theatrical film “Amblin’”)

Legendary director Steven Spielberg’s first theatrical release was a 26-minute-long film about young hitchhikers in the desert…and maybe in love. It was called Amblin’ (which later became the name of his production company). To date, the film has not been remastered and made available digitally.

Shot in 1968 when Spielberg was 21 years old and released the same year, it starred only two people, neither of whom speak during the film. One of those people, Pamela McMyler, had not given an interview about it…until now.

What were you doing professionally prior to Amblin’?

My first acting job was The Man from U.N.C.L.E. I also might have done The Donna Reed Show before. The U.N.C.L.E. [producers] had to write a letter to the Screen Actors Guild to say “No one else in the world could say this [one] line like she can.” I got my SAG card and Eddie Foy (a casting director) really liked me. 

Friends of mine had a little restaurant/bar a couple of blocks from my house. It was like an “actor bar” and they kept asking me to work there because it would be good for business. I was young and perky. I agreed to do it. One night a guy named Mark, very nice man, young man, good looking, said my cousin is making a short film and he has the financing and I think you’d be right for the girl, and so I met with Steven Spielberg. He wanted to do a screen test—I believe [the other person up for the role] was his girlfriend at the time. I got the part and I freaked out because I wasn’t yet a member of SAG.

What do you remember about the meeting with Steven?

How can I describe him? He was a young, friendly, nice Jewish boy. He talked about his mom a lot. Very nice, down-to-earth man.

How old were you when you got the role?

I was 23. I was a couple of years older than Steven. He was just out of film school. 

Did he cast you on the spot?

After the screen test. A couple of days later. 

What did you think of the story?

The way I describe it, it was a romp. [The male lead] was [a surrogate for Steven]—a nerdy Jewish kid. He said basically we’re going to go out and ad lib. He’d say “Now I want you spit olive pits.” More than a script, it was kind of descriptions. 

Was there a written script?

There was but how do you write ad lib scenes? It was a description of what would go on because there was no dialogue. He know exactly what he wanted for every shot. God bless the cinematographer Allen Daviau [who died from COVID-19 in April 2020]. Allen was a big sweetheart, like a big old bear. At one point he hung by his heels out of the trunk of a car to get a shot that Steven wanted. 

Do you still have the script?

No. I don’t know that I ever did! 

Any funny anecdotes about your Amblin’ experience?

I’m sure there are many I’ll remember when we get off the phone. (laughs) At one point there was a description about how the girl chases the guy with a snake. I wasn’t crazy about snakes. They took us out to Palmdale in the heat of the desert. They had a snake in a little aquarium on the bus. I had to take it out and talk to it and get to know it. [We ended up not filming that scene], but I made a friend. 

I think we drank beer in the desert and it dried up immediately. 

We did [the shoot] in very few days. Steven was serious. Friendly and casual but we were there to make a film in only a couple of days with X amount of money.

Is there one story about your Amblin’ experience you tell more than any other?

I was a little nervous to do the scene when I took off my top. That whole campfire scene was shot on a soundstage. It looks like it’s outside, to me. There were a couple of lighting guys and a sound guy. They set it up and left so it was just Steven, [co-star] Richard, and Allen when I showed my little boobies. 

What challenges did you face shooting this film?

Really only the heat. I’m sure it was summer. Pearblossom Highway in Palmdale. It’s outside of Los Angeles some sixty miles. It’s pure desert. At one point [after the initial shoot], Steven said “Pammy, we have to go back out to the desert. I didn’t get a good close-up of you when you two first see each other across the road.” I said “Nooo!” (laughs) We went back out there and I’m glad we did. It was a great close-up of me. 

We spent a good day out there to get the close-up and other pick-up shots. 

The original shoot had been, I believe, maybe four days. We stayed out there in a motel. We shot the ending in Malibu. 

What is your interpretation of the film’s ending? Debate rages on the Internet.

Oh really? Nobody’s ever asked me that question before. To me it was always Steven’s vision of himself as being a straight-laced, very serious Jewish boy who…what am I trying to say? The character was based on Steven. So it had to be his vision of wanting to be this cool guy with his guitar, which he didn’t have or play [in real life]. 

Why do you think the girl walked away after she saw what the boy had in his bag?

Maybe she was shallow. Not shallow, but she felt deceived in a way. She thought he was somebody he was not. She had come to care for him. He probably also would not have ended up with her, by his choice.

Did Steven articulate this or rather let the characters’ actions speak for themselves?

He pretty much let actions speak for themselves. He would tell us the technical things and let us go. That’s part of the genius of Steven. 

While working on it, did Spielberg seem like just another filmmaker or did you sense something special?

At first I thought “just another filmmaker.” But his enthusiasm kind of changed my mind. Then when we had the screening, when I saw it for the first time, I saw what his vision was. I was proud that I accomplished what he wanted. The reception—I was taken aback by how well-received it was. Someone told me [actor] Clu Gulager was in love with me. [So of course] when I walked onto the Universal lot, in front of the commissary, the first person I saw was Clu. 

Did you talk to him?

No, I was too embarrassed. 

What do you remember about your co-star, Richard Levin?

He was a sweet guy. A very gentle soul. Quiet. 

Did you stay in touch with him?

For a little while. We lost track—I hate when that happens. 

Were you paid to be in the film?

No. I often thought in the back of my Irish mind I could go to Steven and say “I could use a couple bucks these days.” (laughs) Of course I wouldn’t do that.

What are you doing these days?

I’m retired. I work around my house, plant my cactus garden, raise my dogs and my pig. 

I was doing antiques and collectibles and painted furniture. I did very well at it. At one store I worked in, I had all the windows and front of store for three days a week. They’re like antique malls and people have sections. I went into that about 1997. I did it for a long time. Ten years. But a lot of the shops closed. 

And before that?

Not long after Amblin’ I got married. I was married for eight years. 

In the 1980s I worked in film or TV only a couple times. You get to be a certain age and they don’t know what to do with you. I did a lot of small theater in LA. I enjoyed that a lot.

I had a beautiful house in the hills in Sherman Oaks. Sometime in the ‘80s, at midnight, I sat bolt upright and said to myself “I’m out of here.” My parents weren’t getting any younger. I wanted to be closer to them. They lived in Santa Barbara. Good luck affording anything in Santa Barbara so a friend recommended Ventura. In 1992, I moved from Sherman Oaks to where I am [still am today] in Ventura, a few blocks from the ocean. [For the first] five years here, I did nothing but go to the beach five hours a day.

I assume your dogs are in your house and your pig is not?

My pig did live in the house for a year and then she started rearranging the furniture—she’s an exterior and interior decorator. [So she then had to move outside.] 

How did you come to have a pig?

My neighbor had a baby pig, white with big black spots. I’d always wanted a baby pig. I would babysit the pig all day when she was little and eventually adopted the pig from the neighbor. I adopted her when she was little. Now she’s enormous. 

Can you housetrain a pig?

She housetrained herself. We left the front door open and she’d go in the corner on the porch. Always in the same place. Occasionally she’d pee in the living room.

A friend built a ramp outside my bedroom door. I don’t know how he knew a pig needed a ramp, but it did. 

What’s your pig’s name?

Blossom.

Your dogs?

Bobby and Mickey. Both boys.

Do the dogs and the pig get along?

They do. Once in a while she will chase them around the yard. But they run in.

If she caught them, what would she do?

She pushes them with her snout and sniffs them. Pigs can be gnarly once in a while. I brush her every day and tell her she’s a pretty girl. She eats only her pellets and fruits and vegetables.

I don’t eat ham or bacon anymore. Matter of fact, since I got her, I don’t eat meat anymore.

Any interest in acting again?

If someone just gave me a part and I liked it, sure, I would do it. But a craving? No.

Do you have children?

No.

Have you ever appeared at a pop culture convention? If not, would you be open to meeting fans and signing autographs?

No. Universal used to send us to places, but not conventions. Veterans hospital—kids paralyzed from the waist down. We—all these young starlets, pardon the expression—went there supposedly to cheer them up.

In the late 1960s, they sent a bunch of actors on a bus to Orange County—Republican country—to sit at various tables and hand out awards at a real estate headliners of the year event. We ate these pineapple starters. Then a lady said “Sorry, wrong table” and put us at another table. Ate the pineapple starters again. They moved us a third time. Then someone came out and said [to the attendees] “Welcome to Orange County, the land of Richard Milhous Nixon!”

People told me I should do conventions because of Chisum, [a 1970 movie she starred in with John Wayne]. I might be interested in that.

What was it like to work with John Wayne?

Working with John Wayne was a hoot and a holler. He’d already [screen] tested six girls. My agent was a small agent who sat on the director’s doorstep until he would see me. He told me later that he liked me immediately. He showed John Wayne Amblin’. John walked out and said “Can the little girl talk?” Amblin’ certainly did its job for me for a while. 

Have you seen Steven Spielberg or Richard Levin since shooting Amblin’?

I worked with Steven a couple of times after Amblin’. He said I was his good luck charm. Then I guess he didn’t need a good luck charm anymore. (laughs)

The first thing he directed when signed at Universal was an episode of Night Gallery with Joan Crawford. Here’s this young kid directing Joan Crawford, of all people. Bless her heart, she drank vodka all day but covered it with a tissue so no dust would get in it. She was a germaphobe. 

Steven called me one night and said “Pammy, I have to put you in a brown wig because Joan doesn’t want any redheads on the set.” She thought her hair was red, but it was dyed some pinkish color. (They ended up having to cut my main scene from that show.)

Another time Steven called to tell me something he said I wouldn’t believe. Joan had called Steven into her dressing room. She had this whole entourage around her. She was naked with her butt up in the air and she was getting a shot for something. 

I used to run into Steven at a restaurant—late ‘70s. Once we went with another couple. Steven came over to our table to say hi and one of my friends said “What have you been doing since Amblin’?” Steven laughed. He’d already done Jaws.

That was probably the last time I saw him. Once in the ‘80s I called him at his office and he told [his assistant] to hold other calls. He said “I can’t believe my Pammy is in her forties!” He said he thinks of me because his company is called Amblin’. We talked for a long time.

Would you call Steven Spielberg’s office again now? 

I don’t know. 

He seems like the type to be receptive.

He’s pretty guarded. 

What about Richard Levin?

I heard a rumor many years ago that he had passed away. [But then] I have a friend who lives in Arizona—she and I have been friends since we were 17; her husband knows Richard and said he’s fine, but that was a while ago. I’m going to find out about Richard. [MTN: She was unable to.]

Did you meet Rod Serling when you worked on Night Gallery?

No.

When was the last time you watched Amblin’? 

Couple of years ago. I have it on tape. I’ve also watched it on the internet.

Do you have any mementos from the experience such as set photos, a script, or anything from the set?

I may have a couple of photos. No candids. Snapshots that maybe Allen took. I don’t even think Steven had a camera. 

Have you been interviewed before about this specifically?

No. There was some guy a few years back who tried to interview me about me but I cut it short. It didn’t work. Another guy doing a book on Universal Studios has interviewed me. He’s great. He asked me about my credits. I said I was in a TV series called Crosstown and he could never find it. [MTN: Me neither.]

What did you think when you first heard from me?

My first thought was “How did he get my cell phone number? And why is he doing something on Amblin’ 50 years later? Who is this nerd? I better talk to him.”

(laughs) Nerd...you got that right. If the Amblin’ experience changed your life in any way, how?

I was only working here and there and it got me a contract at Universal. John Wayne didn’t want a contract player in Chisum. But after he saw Amblin’, he wanted me for the part. And he wanted to put me under contract at his company, Batjac.

How do you look back on your Amblin’ experience overall?

It was a great, fun thing to do. I loved acting but was even more thrilled when I saw the reaction to the film.