MORGAN FAIRCHILD: EPISODE LINK
TRANSCRIPT:
Colleen: Welcome back, everyone. We are thrilled to have the glamorous Morgan Fairchild on the show today.
Welcome.
Morgan Fairchild: Thank you. Lovely to be here.
Colleen: We have so much to talk about,
but I wanted to kind of start from the present. Before we start talking a little bit about the past
and your present is busy with your sister doing a podcast called Two Bitches from Texas.
How did that happen? I first off love the title.
Morgan Fairchild: Thank you. Thank you.
Well, you know, once we decided to do a podcast, that was the main thing is, you know, we’re
sitting around as you ladies, I’m sure know, it’s like, how do you come up with a name? And
everything is either too cutesy or too boring. And so at one point I just said to the producer and
my sister. I said, you know, it’s really just two bitches from Texas sitting around talking about
how to save the world. And my producer said, that’s good. But it came about because,
you know, my sister and I, we grew up in the theater together. And so we used to do a lot of work
together when we were younger, much younger. Much, much younger. And so we’ve always been trying to
find ways to work together again. And during COVID, we realized we hadn’t been talking as much
because she teaches acting and she works into late at night. And then, you know, just trying to get
our work schedules where we didn’t feel like we were bothering the other one to call. And we set up
a Sunday night phone call. So she would finish teaching her acting class and whatever time. And
then she would call me on her way to her lake house, which is an hour and a half. drive and we
would just gab about everything. And so when we were thinking about doing a podcast, I said, you
know, it’s just our Sunday night phone call, just covering everything in the world and, you know,
what we’re feeling, what we’re thinking about, what’s going on, who we know. So I’m sure you guys
know immediately you start asking every old friend you ever had in life to do it.
And fortunately, I’ve been doing this a long time and I have very eclectic interests. So we have
actors, but we also have a lot of other. people we have John Edwards the psychic and my sister
teaches acting we have a young influencer uh Nick Suarez who’s got eight and a half million
followers and being of a certain age. My first question is what the hell is an influencer and
what do you do and uh and then one of her other young students that she started teaching when she
was 14 and years ago and now is a very a successful young actress out here in Hollywood.
And she has a series called Gen V on, which is a spinoff of the boys. And she had Sabrina before
that. So we have actors. And then my friend Norm Ornstein, who is the foremost congressional expert
in the country and voting rights. And Tom Nichols, who is a Russia expert who taught at the Naval
War College for 25 years and now writes for the Atlantic. And we just taped George Conway and who’s
running for Congress. You know, our, our episode with the Love Boat cast just broke.
So it’s George Conway to the Love Boat.
Bridgett: Yeah, exactly. But it’s so it’s just interesting topics that people I think want to know about.
I want to know more about the story that’s behind it. And I love how close you
and your sister are. And can you share how. She was the excited one and you were the shy one and
how you got into acting.
Morgan Fairchild: Yeah, she. Well, my sister was a big personality kid and I
was always the real shy bookworm. And, you know, teachers love me. It’s like,
you know, advanced placement class, straight A’s never opens my mouth, you know, and. And then at
one point when I was in the fifth grade, my teacher decided that we had to do
oral book reports. We couldn’t do written. Now, written, I can ace. But oral, I. stood in front of
the class three days in a row and absolutely no words would come out. So my mother finally kind of
coaxed me through that. And, you know, are you afraid of anybody in the class? Well, just look at
one person, look at one person, you know, and all these things they teach you when you’re doing
public speaking. And so I managed to get through it. But then our mother coming from a family
with attorneys and her brother was a judge. My cousin prosecuted for the Justice Department.
She decided that no child of hers was going to be so incapacitated by shyness.
So she enrolled us in drama classes. So my sister, big personality, she loved it every week and I
would throw up in the bathroom before we had to go. So it was an inauspicious start,
shall we say. She never dreamed she’d end up with actors in the family. But then one Saturday
morning, she was reading the newspaper and my mother announced that The Junior Players Guild are
having auditions today. And so, you know, I’m like cringing, hiding in my room as soon as I heard
that. My sister is, oh, yeah, let’s go. You know, so of course we went and dragging me and sat in
the back of the auditorium all day and watched all these kids do improvisational auditions. You
know, so I went back here sort of looking, thinking, you know, I could do as well as that.
I could do that. But I’m not going to. I’m not going down there. So finally,
my sister says, I want to audition. And I knew if I didn’t go audition, I’d get yelled at all the
way home. So I always say I have a career today because my fear of the stage was second only to my
fear of my mother. So we got down there. And this is the difference that an adult can make in a
kid’s life, because if that gentleman director had not given us little parts in that first
audition, I don’t know if I would have ever had the nerve to go back. But we did.
We got little parts and we showed up and did our thing all the time. And then we started going to
more auditions and people kept, you know, hiring us to do stuff. And so it kind of grew from there.
But basically out of the fact that, you know, I’m an idiot nerd who couldn’t talk.
Bridgett: But it’s amazing. You know, what came of it is really amazing.
Colleen: When did that shift happen? When you started to actually say, I’m kind of good at this. I enjoy it.
I’m not throwing up in the bathroom anymore. I’m now able to get on this stage. When did that start
to change?
Morgan Fairchild: You know, we started working at a theater in Dallas called Theater Three,
which was a wonderful training ground.
Doing the theater, you do a little bit of everything. So you do props, you do costumes, you do
sound and lights, you do stage managing. You do, you know, I mean, I started off my first little
bit. My sister, I think, was playing Heidi in a production of Heidi. And I was for Children’s
Theater and I was sound and baa-ing like a sheep off stage.
You do a little bit of everything. But, you know, it stands you in good stead because to this day,
you know, when I’m finishing up a movie or a TV show, usually the wardrobe or somebody in wardrobe
department will come over and say, you know, we love you because you always hang up your clothes
and you never walk off with the costumes. I said, yeah, because I did costumes. I know what that’s
like. You know, the prop guy will come over and say, I love you. You never walk off with the props
because I did props and I know what it’s like. When that gun isn’t on the table when it needs to
- So it’s a very good training experience.
And little by little, I kind of got over it. I know one of the notes my mother gave me early on is,
you know, you really should try to get over looking like you want to get off the stage.
That was one of the key tips. Don’t look like you’re ready to run off stage.
Bridgett: Yeah.
You know, I’ve heard we had June Squibb on and she said she started in theater as well.
And it was just like a common courtesy that these people who start in theater have hanging up your
wardrobe, putting the props back, just knowing what everybody else needs.
Do you find that? Can you tell a difference between people with theater backgrounds and people who
didn’t have a theater background?
Morgan Fairchild: Oh, yeah, yeah. Theater really fosters a sense of camaraderie.
And you really understand that you are all in it together, that it is a team effort.
It’s not, oh, look at me, I’m acting. You know, it’s all a team effort. It takes everyone to make
the illusion work. And you start to appreciate that very young. So,
yeah, yeah, definitely a big difference.
Colleen: So when you decided to move to New York and you started on
soap operas, correct? What was that experience? Because we have had people on who said soap operas
are like being shot out of a cannon. You’re just going, going, and there’s no like second take. Was
that kind of learning by fire?
Morgan Fairchild: Well, yeah, especially back then, because in New York back then you really did shoot it like a
play. So you came in early in the morning, you rehearsed, you got into makeup and you came back and
you just shot the thing. And it was like being shot out of a cannon. Unless the scenery fell in on
you, that was it. You didn’t get a second take. So, yeah, so that was good training. They don’t
really do it that way now. Now they shoot it more like a TV show where, you know, like. Everything
that’s shot on one set or one party scene, they’ll do in one day, even if the party scene goes
across three episodes or whatever. And when I was doing The City in New York,
I had a very big set, which is actually, I think, where The View is shot now. At least it was when
Barbara Walters was there. And it was a huge set that was supposed to be my loft. So every time we
would shoot in my loft and they had to set this all up, we would shoot like six, seven episodes in
one day. So it’d be 72, 80 pages of dialogue in one day from like six different episodes.
So it was a it’s a challenge. It’s a challenge. And it’s very fast. And that’s one of the things
when I go back now and do little story arcs on some of the shows, like I’ve got this thing on Bold
and Beautiful I just did. And then I was doing a recurring thing on General Hospital for a while.
And it’s one of the things like the director or producer or somebody will come over and say, you
know, a lot of TV and film people can’t keep up with us. You can you really go with that. And a lot
of film people, they need more time. We don’t have time. So it’s a skill that’s good to learn
early.
Bridgett: Yeah, I mean, it sounds like really that you’ve just kept everything that you’ve learned and
you just use it in everything that you’re doing, that you keep doing forward. And that’s another
thing. You keep working. You have, I mean, since the beginning,
you have. constantly worked. And I’m just curious too, like,
like if you, you just kind of have this drive, like, like you said that the person,
if that man hadn’t given you and your sister, those tiny parts, and then that gave you the drive to
go on. Has that always been something inside of you that you just have this drive just to keep
working?
Morgan Fairchild: Yes. You know, I’m, I’m not one to sit around. And also I got married.
Very young. And by the time I was 19, I was supporting a husband and his mother and making the
house payments.
We had a pop festival two weeks after Woodstock. My ex-husband was in the music business, and most
of the same people who played Woodstock played ours. But, you know, the problem was gatecrashers.
So Woodstock made it back on the movie rights, but, you know, they didn’t need two movies with the
same performers. So suddenly he was facing bankruptcy. So suddenly I’m responsible for everything.
And, you know, when you’re a kid and you’re responsible for everything, you know you have to get
the job.
It’s not a fun thing to go to an audition. You need that job. And so that’s a great motivator.
Fear is a great motivator.
Colleen: Sure, I think for anybody. And, you know, one of the things when I was getting ready for this
interview that I absolutely love is that you are so multifaceted. I think people look and say she’s
beautiful. Of course, she’s an actress, but you do so much more. Then just acting like when I heard
that your hobby is like epidemiology and viruses. Most people’s hobbies are like racquetball,
like they’re not exercise more. Yeah. Studying viruses from what made you what made you want to
study that? Is that just something that you’ve always been curious about?
Morgan Fairchild: Yeah, I started off as a
kid. I wanted to be a doctor, a paleontologist when I was a little kid. And so I’ve just always
kind of kept my hand in. Even when I was doing Flamingo Road, I was taking anthropology at UCLA and
night school at the same time. So I’m just always trying to learn. I love learning and I have these
odd interests. The fact that I was interested in viruses kind of
has ended up shaping my life, although it’s been just was kind of a hobby. I just remember when I
was I was reading The New York Times and I saw this little article, you know, like five sentences
or something about a cluster cases of Kaposi’s Sarcoma in New York. And I thought,
well, that’s odd. That’s an odd cancer for people to get so many and rare cancer.
And then it turned up like 13 cases of pneumocystis pneumonia in San Francisco.
And I thought, well, that’s odd. Usually your body can fight that off. And then it came out they
were all in gay men. And I knew something new was out there. And I started warning all my gay
friends. And then eventually they were calling it gay cancer. And then eventually it became AIDS.
And so suddenly I’m finding that I’m getting calls from Nightline and all these different.
places to do hard news stories on AIDS because I was the only famous face that could go on
Nightline and explain what a retrovirus is and how it works and how you do and don’t catch it. And
because, you know, there was a lot of fear mentality at that time and I knew it would be
detrimental to me in a lot of ways. I also felt this moral obligation to get out there.
I knew I had this odd set of knowledge that and I was the only famous face that people might listen
to because like with COVID, they started ignoring the doctors and sort of really talk to people one
on one about, you know, ways to have safe sex, ways to change your life, ways to do things and
keep people up to date on medical research. And I just felt this moral obligation to get out there
and do it. I knew I would take a lot of hits for it because of all the fear mentality that was
going on in the country. But I felt a moral obligation to do that.
Bridgett: You know, and a lot of people
sometimes will criticize celebrities for doing that, just in any case, whatever they’re advocating
for. But I think the AIDS. Epidemic, I think that really, I think we needed celebrity to come out
and say that like you, Elizabeth Taylor coming out, supporting people that were,
that were dying. Just the thousands and thousands of people were dying. I think we needed
celebrities out there to do that. Do you feel the same way?
Morgan Fairchild: Well, I felt an obligation to do it
because, because I could get on TV and do it. People were again so scared that they weren’t paying
attention to the doctors they were just operating on fear mentality and um I remember because I
had been Rock Hudson’s date to a Lifetime Achievement ward a few months before he went on Dynasty
and then you know, it’s like a small town, Hollywood,
you know, and I’m working on Falcon Crest. Word goes around the lot, you know, that Rock isn’t
looking so good over on Dynasty. Well, I knew immediately what it was. I mean, America didn’t know
Rock was gay, but everybody in L.A. knew Rock was gay. And so I felt,
you know, very much an obligation to try to get out there and stem the stigma,
stem the fear, get people to treat it as a disease and not some kind of social thing and not
against the gay community. And so, yeah, so I knew I would I lost a lot of friends.
People didn’t want me to be around their kids. They didn’t want me to eat off their plates.
This is before I even started visiting hospices, you know, because I was talking about it.
I lost friends. I lost work. I was told that, you know, when my name came up in casting rooms,
people would, oh, she’s too controversial with all that AIDS stuff. And I lost work. But I knew I was taking something on. I knew it would not be helpful to me personally,
but I felt it would be helpful to the country and to humanity,
if that’s not too corny, you know, to get it treated as a disease. And so I remember one of my
friends was a publisher of one of the magazines, you know, the magazine, not the Enquirer,
but one of the nicer, higher quality tabloids. And he called me up and said,
and I think Rock was still alive. He called me up and said, well, you. Will you do a picture? We
want to do a big thing on Hollywood fights AIDS. And would you do a group shot with all these
celebrities? And I said, sure. And so he called a couple of weeks later and said, thank you. I
said, for what? And he said, well, everybody had turned us down until you said yes.
And then you made it safe for everybody else to say yes. So we got the group shot. But I felt like
that was a lot of my purpose in the 80s besides working was to be the one out there willing to
take the punch in the jaw so that it’d make it safe for everybody else to get behind me and be able
to talk about it openly, talk about realistically about you know sexual practices, sexual changes. All
these different things that you know 40 something years ago people really didn’t talk about as much
as they do now God forbid. So, yeah, so I felt I felt it was important to do.
And, you know, I know I lost work because of it, but it was the best thing I ever did with my life
because I did help educate people. I think I did a lot of TV specials, a lot of guest appearances,
you know, town halls with Nightline, first town hall Nightline ever did, you know,
and so I felt that I did help educate people and in the long run help save people’s lives.
I mean, I testified before Congress to get funding for AIDS research, you know, was there for the
unveiling of the first quilt there for the opening of the first AIDS veterans wing in New York with
Mayor Koch. That’s how long ago. So, you know, you decide long term what you want to do with your
life and then you do it.
Bridgett: And it’s just the right thing to do. I always think about like when you’re
faced with something like that, what’s the right thing to do? And that just sounds like it was the
right thing to do. So with it was, you know, unfortunately with COVID,
a lot of people had that fear mentality too.
Colleen: Oh yeah. And we still had Dr. Fauci involved with
that. I don’t think people realize that it was Dr. Fauci with the AIDS epidemic. It was Dr. Fauci
with COVID. Did you see a difference? When you were talking about COVID and that virus then in the
80s, or was it very similar experience for a lot of people?
Morgan Fairchild: No, it’s very different in ways.
Other than I love Dr. Fauci, worked with him all through the 80s. And, you know, I saw that first
press conference for COVID and I emailed him and I said, I can see where this is going.
I have a lot of Twitter followers.(I told him) Let me know what you need to get out. I’ll just put it out to my
people.
No, the thing I see with COVID is first there was fear, but now there was anger and it got
politicized. And now nobody’s scared of it and they should still be scared of it. I have so many
friends disabled with it. I have three girlfriends with breast cancer, one waiting for a kidney
transplant. My fiance had Parkinson’s, but caught COVID three times in the nursing home.
Third time he had heart attacks six weeks later and killed him. That’s COVID. You know, I’ve seen a
lot of people die of COVID, but not just early on in the hospital, of the long-term consequences,
what they call Long COVID. The way it affects your body, I mean, causes early Alzheimer’s,
dementia, it shrinks your brain. It can reduce your IQ points by, you know, five to six points.
They’re seeing it in children acting out. It can cause psychosis in adults. It can cause autoimmune
diseases, lupus. Because it suppresses your immune system in a funny way,
not quite like AIDS, but it suppresses your immune system so that cancer can get out of hand.
Cancer that was in remission for years can get out of hand. Autoimmune diseases, diabetes, it
causes all these different things that… don’t understand because, frankly,
the government isn’t educating them on it. I tweet a lot about it and on Blue Sky a lot about it
just to educate people because so many people now say, oh, it’s a cold. It’s OK. And they don’t
realize the long term, you know, the long term effects of it.
I mean, they’re looking at a lot more car accidents now. People, when it gets into your
brain, it can cause the part of your brain that would recognize something’s off to kind of turn
off. So you don’t know that you’re rage driving or that your reflexes are slow or that,
you know, you just are kind of out of it and you ran right through that red light. And they’re
seeing a lot more. car accidents. They’re seeing a lot of children acting out in school,
teachers resigning because kids first, second grade are biting, kicking, screaming,
calling people names. And it’s not just lack of discipline at home. And it’s not just… You know,
that things were shut down because, frankly, when things were shut down, a kid getting into first
grade now, the first those first couple of years when things were really shut down, they were an
infant and wouldn’t have been out socializing around, you know, on their instruments,
their cell phone or whatever, either. So they’re seeing a lot of brain changes and it’s not good.
It’s not good.
Colleen: Why does no one talk about that? Or at least they do,
but why isn’t that information getting out to people?
Morgan Fairchild: Well, a lot of us are trying to get it out.
I mean, follow my Twitter. I tweet about it all the time. And a lot of doctors are trying to get it
out. But the government hasn’t gotten behind it. And especially the current administration, they
don’t seem to have any interest at all in it. And basically, I think it’s probably just political.
People were unhappy with being shut down. They don’t like to wear masks. And so nobody wants to
rock the boat. Now, I wear masks everywhere. People tease me. I don’t care. I’m old. I don’t give a
damn.
I’m not going to get it. I saw what it did to my fiance. I said, you know, every time he caught it,
the dementia from Parkinson’s was worse. After the second time, he couldn’t walk at all anymore.
You know, people start falling. One of my friends, her mother was older, like in her 80s,
but living at home, doing well, everything she caught covid. She started falling and hitting her
head in the hospital with brain bleeds and ended up you know having to live with them and then in a
nursing home. I mean those last few years of her life when she was perfectly fine living alone are
gone because she kept falling. And that’s a real common one, too, from COVID is falling,
hitting her head. So I think that’s the reason people don’t want to rock the boat. The public
that doesn’t want to wear a mask, that doesn’t want to have HEPA filters in their school or their
home, don’t want to have to deal with it. Everybody wants to pretend it’s gone. And so those people
are pretending it’s gone are the ones that are most likely to end up with long COVID and brain
damage and heart attacks and all of the other kinds of stuff. I do everything I can,
just like I did during AIDS. I do everything I can. Like talking about it right now, at least your
listeners will be warned. They may choose to not wear a mask and do whatever else they want, but at
least they’ve heard about it now. And that’s something that has not been being done by the
government that should be really. But so, you know, that’s I do what I can to educate people.
Bridgett: Right. You know, the car accident thing that I hadn’t heard of that. Now, I feel like, too, it’s
not on the news. You know, I haven’t heard that study. Have you heard of Colleen?
Colleen: No. And I mean, I feel like the media is, the news media is not sharing a lot of things.
Morgan Fairchild: Well, there’s so much to cover on a daily basis that, you know. Well,
the public got tired of it. I have a couple of friends in newscasting and I’ve said to them. In
fact, one of them has relatives who have long COVID. And I said, why are you guys not covering
this? And the answer I got is, Morgan, everybody just got so tired of it and they don’t want to
hear about it anymore. And from upstairs, it’s like, just don’t talk about that anymore. You know,
people don’t want to hear it. And, you know, the thing with news, though, is that they should be
hearing things they don’t want to hear, but that they should hear. I suppose it’s news. You know,
lonely little aging vixen here trying to get the word out. If I can help one person think,
oh, maybe I should start wearing a mask again, at least when I go to a hospital, at least when I go
to the grocery store. You know, if I can just help one person say, you know, let me Google that and
look up those studies and stuff, then I’ve done a good day’s deed.
Colleen: I think you’ve done a lot more than one good day’s deed, but you know, plus now you have your
platform with the podcast, which is wonderful as well. Before you did the podcast,
you’ve been, gosh, you’ve been, like Bridgett said, you’ve consistently been working for most of
your life. And was there ever a point where you were like, I think I just want to take a break from
acting or has it just always been your drive?
Morgan Fairchild: Oh, I love it. I love what I do.
I’ve started when I was 10 years old. I’ve been doing it 66 years now. I love it.
I don’t want to retire. I don’t want to go play golf or something,
you know, not me. I like what I do. I like the creativity of it. I think it keeps you young,
having to learn lines, having to get up and move on stage or move around, having to go to work
every day. I think just staying active is the most important thing about aging and especially for
dementia, for things like that, just to keep your brain active, to keep yourself active, to keep
your focus going, to engage with other people is very important. And they’ve got a lot of studies
out now that show older people who don’t go out and don’t have a lot of social engagement, you
know, decline cognitively, but also physically. And so, you know, I just think it’s important to
just keep doing. And I love what I do. So at some point, maybe I’ll say to hell with this.
But, you know, at the moment, I love what I do.
Bridgett: You know, we see so many people that are like just.
like June Squibb, I’m going to bring her up again, but 96 years old, she was on Broadway. I mean,
it’s amazing. And she is so sharp and just remembers all the dialogue and, and everything.
And something too, I just want to say about you. Okay. You’re gorgeous. You’re,
you’re this beautiful woman, but you’re also funny.
Like you also do comedic roles.
I felt like people always felt like beautiful people couldn’t be funny, but you are, you’re
beautiful and funny.
Morgan Fairchild: well, thank you.
Colleen:Are you thinking Pee-wee Herman?
Is that what you’re thinking?
Bridgett: I’m thinking Friends. I’m thinking things like that. And Pee-wee is
one of my Pee-wee Herman. I’m drawing a blank. What is it? The Pee-Wee’s Big Adventure.
Oh, my goodness. I mean, everytime we’er with people that still haven’t seen it. My husband and I will be
like, oh, I’m sorry, but you have to watch it. We will put it on. I’ve watched it 30 times. So how
how did that all come about?
Morgan Fairchild: That would make Paul so happy to hear that.
Well, you know, Paul and I got to be great buddies. I was hosting Night at the Improv.
There used to be a show called Night at the Improv. And I was hosting it one week. And all the
other comedians were older and came in during the day in the afternoon and ran through their act
and, you know, see where I’m going to walk on and my announcement and all, you know, just
rehearsal. And at the end, this young man came on and very quiet.
And he said, I just wanted to stop by. I am not going to run through my act.
And I wanted to tell you whatever happens tonight, I won’t hurt you. And I’m like,
OK, what the hell are we doing here? Anyway, so he comes out that night as Pee Wee and manic and had
a brown paper bag of plastic spiders and snakes he was throwing at me. And we were just improvising
because I’m theater. You know, we were improvising. We’re going crazy. And it was a big hit.
And anyway, so after the show, he came over and says, oh, you got me. You got me. Nobody ever gets
- And you just went with it. And I said, yeah, I grew up in the theater. That’s what we do.
Anyway, so we became great friends. So we would go places together like he was getting nominated
for a lot of things at the time. And so he’d say, Morgan, will you will you be my date to go to
this? I’d say, sure. And I’d show up in my, you know, evening gown and he’d show up as Pee Wee,
never as Paul. But I remember one time back when I still had an answering machine or
answering service, I got this call and they said, we have Pee Wee Herman on the line. And I said,
OK, put him on. And I said, Paul, I know your real name. You don’t have to say it’s Pee Wee Herman.
So anyway, he says, well, I’ve got a big favor to ask. And I said, yeah. And he said, I’ve got my
first movie and we have no money and we need some celebrity guest stars and everybody’s turned us
down. And I said, well, wait. I said, don’t tell people everybody’s already turned you down. And we
have no money. I said, no, no, I got the no money part. When do you need me? And he said, Thursday.
I said, OK, let me see if I can get off Falcon Crest for the day. They moved one scene for me on
Falcon Crest. So I show up on the Warner Brothers back lot in this kind of forested area and
they’re doing the ninja fight scene. And I said, guys, you know, I had four and a half years
of Kung Fu in Chinatown in New York. I can do this ninja fight for you other than falling out of a
tree. Because if I break a leg, Falcon Crest is going to sue me. So we did the ninja fight.
And I’m like, OK, now I have no script. And then Jim Brolin shows up in this Pee Wee outfit. And I
had done the pilot of Hotel with Jim a couple of years before. It was a two hour movie. So I knew
Jim and I’m like. What are you doing? He says, I have no clue. We have no script. We have no sides.
We have nothing. We have no clue what we’re doing. So the guys come together and say, you know,
OK, just look at each other and say, I know you are. But what am I? And we’re like,
well, what does it mean? It doesn’t matter. It’ll be funny in context. Just do that. You know, so
we do that. We’re just flying along here by the seat of our pants. And so then we did that.
And then they said, oh, thank you. And so I looked at Jim and I said do you have to go back to
work today? And he said, no, I got the whole day off too um you want to do more and he
said yeah, what can we do? I said I don’t know let’s go talk to the guys so we go over and talk to
Paul and Tim Burton. It’s Tim Burton’s first movie and we say guys, you got us for the day you want
to do more and they’re like what we what could we do we have no money and you know we borrowed the
back lot here at Warner Brothers but we don’t have any other sets. What can we do and Jim says, let
me make a phone call. He calls Aaron Spelling. And Aaron loaned us the set for Hotel,
the Fairmont Lobby set, which they weren’t shooting on that that day. And I had shot on it. And so
suddenly we have a hotel. We have a hotel lobby. What do we do now? So I become a spy.
And Jim is a big game hunter. And Paul is a bellhop. And you’ve got “paging Mr. Herman” and,
you know, that whole scene, which some people tell me that’s their favorite scene in the movie. But
it was all just improvised, mainly because the idiot blonde said, hey, you want to do more? What
can we do? So, but, you know, that’s the part about being fun and creative and just coming up with
things and helping friends, you know, for no money.
Bridgett: That is such an iconic scene,
too. And to find out that’s how it came about is. It’s wild. That’s one of my favorite scenes.
It really is.
Morgan Fairchild: Thank you, madam. Thank you. Thank you. I would take a small bit of credit for that.
Colleen: I think more than a small bit. This is basically was because of you. Yeah. You have worked on so
many shows. Are there certain actors like obviously Pee Wee Herman that could just call you and
say, would you come do this? And you’re like, absolutely. There’s are certain people you’ve worked
with that have held that kind of relationship with you.
Morgan Fairchild: Well,
I mean, Tim Burton, if he called again today, I’d certainly go do that. But actors, yeah, I mean,
have a lot of friends, you know, that you try to help out.
Different people have called and asked to come in and do little things.
Yeah. I’m trying to think who right now would I would I drop everything and go. But I mean,
you know, Paul was talking to me before he passed because he was doing a thing where he would
show Peewee’s Big Adventure and he was trying to do some more stuff with Peewee. I think he really
wanted to put together another movie, but he was going around the country showing that and then
doing a Q&A afterwards. And he asked me to do that with him a couple of times, like in Colorado, I
think one time. And I couldn’t because I was working on something else. But if I hadn’t, I would
have dropped everything and gone in and done that for him. But yeah, I mean, just different people
whose work I admire and people that I’ve worked with. I mean, there are a lot of people I’ve worked
with that if they called and said, can you come do this? I would go do it. I got to work with a lot
of great people. I got to work with Bette Davis and Natalie Wood and Roddy McDowell and, you know,
Vincent Price. I got to work with so many wonderful people. I was so fortunate that I came out here
when a lot of the older stars I had grown up watching were not only still alive, they were still
working. And so Jane Wyman on Falcon Crest and Cesar Romero.
And I’m an old movie nut. So, you know, the first day I saw Cesar on the set, I’m like, Cesar, so
tell me, what was it like working with Marlena Dietrich on Devil is a Woman in 1933?
Bridgett: wow, wow, you
were just like right at that age, like right at that cusp you know where you could get to work
with them. Another role that you did that I thought was so it was so good and it just
brought kind of stigma away was on Roseanne when you played uh Nancy’s girlfriend because I can’t
remember when that was, if it was the 80s or 90s.
Morgan Fairchild: 92.
Bridgett: But still,
that maybe wasn’t something that people addressed openly or on television.
And you did it. And it was you.
Morgan Fairchild: I love doing iconoclastic things. I love doing things where people don’t expect you to do it.
And they sent me the script through the whole first
Scene, first episode I’m on you know Nancy’s talking the whole time about her new girlfriend and all
this stuff and and then at the end, she opens the door and it’s Morgan Fairchild and I thought
it was hysterical and nobody would expect Morgan Fairchild and it was the first time a lipstick
lesbian kind of thing had done been done on television. I always like doing things that are hard
that are new that are weird and that was, I thought that was important.
I mean, Ellen had come out on her show, but I think it hadn’t, none of the gay issues had really
been addressed much on television. And then the other thing, when I was doing Falcon Crest, I
really wanted to do it because it was the first time that the adult repercussions of incest were
addressed. And a movie called Something about Amelia, a TV movie had come out a couple of years
before about incest, which was the first time that was done. But this was the first time the adult
repercussions of incest would be talked about on television. So again, not something people are
expecting me to do, but I thought it was important. And I thought, you know, I love doing things
where people don’t expect to see you.
Colleen: You know, and you got to work on Friends, which that must have been an incredible set.
What was it like?
Morgan Fairchild: You know, it was always a lot of fun. It got a little stressful as the show kept
getting more popular and the poor kids were pulled in so many different directions. I kind of felt
sorry for them, you know, because you just knew they were under so much pressure. But I always
really admired them for banding together and not having egos get in the way of, well, I’m more
important for the show than you are, you know, banding together and negotiating together. Very
great, smart move. But, you know, I always remember my first day on the set. Well, because when
they offered it to me,
the show was not a big hit yet. It was kind of muddling along, but I’d seen it and I thought the ensemble work was really good and I thought that the individual actors were
really good. And those are two different things. People from theater understand that. That’s two
different talents. And so I liked the show. I thought it had potential. I was right.
And so anyway, and so they offered me the part and I said yes. And I remember Cicely Tyson said,
Morgan, you shouldn’t play that guy’s mother. You’re too young to be his mother. And I said, well,
you know, I played kids’ mothers. Teenagers, mothers, you know, got to make that jump at some
point. Might as well do it anyway. So my first day on the set, Matthew Perry comes bounding over to
me, big gangly guy and says, oh, you won’t remember me. But I used to hang out with you on the set
of Flamingo Road and Falcon Crest with my dad. And I said who’s your dad?
He said, John Bennett Perry. And I said, oh my God, you’re dad is John, you’re that kid that was on the
set with John? And I’m thinking, well, I guess I am old enough to be this kid’s mother. He was
hanging out on the set with me.
But such a sweet guy, so talented. I mean, all of them so talented. You know,
it just it’s kind of miraculous when so much talent comes together with the good writing,
the good producing and everything meshes. I mean, you know, part of that is talent. Part of it is
just stars in the sky, you know and so it was great to see them all have such success.
It was very sad about the way Matthew passed, you know, because I think we had all thought that he
had gotten through it. And, you know, he was sponsoring people. He’d written a book. He had
started his foundation. And so I think we all thought he was doing better. And unfortunately not.
Bridgett: And that is just, yeah, that’s heartbreaking. And I think so many in our generation,
too, just are just heartbroken about that. And also, you worked with Robin Williams.
on Mork in Mindy.
Colleen: Oh, my gosh. Yeah. I mean, what was that like, like working with somebody like
that? I mean, just like a thousand things were going through his brain at once.
Morgan Fairchild: Yeah.
You know, again, I’m kind of lucky that I have friends. One of my early jobs when I first got out
that first year I was here was Happy Days. And I’m playing Fonzie’s new girlfriend on Happy Days. I
mean, in 1977. Wow. You know, and. That whole cast.
I mean, Henry is such a doll. That whole cast was such a doll. Everybody was so nice and so warm
and welcoming. And they all were saying, you know, when you, you know, if you’re on the Paramount
lot, come by and say hi, you know. So whenever I was over there for an audition or, you know,
shooting something, I would stop by and say hi. So one afternoon I stopped by and Henry says, you
know, do you have to go anywhere? And I said, no. He said, stay and watch our guest star. So I
stayed all afternoon to watch this guy, their guest star. Just to be able to tell him he was a
genius. And so then like eight, nine months later, I get a call from William Morrison. It’s like,
well, we have good news and bad news. I said, what’s the good news? You got the TV movie you
wanted. OK, great. What’s the bad news? Oh, Gary Marshall has this new show and it’s all under
wraps and it’s a big secret and nobody knows anything about it. And Gary wants you to be on it,
but he only wants to give you recurring. And he won’t give you a
contract. And he’s only going to pay top of show. And you’re making so much more money than that
now. We just think you should pass. And I said, well, what’s the show? And he said, Mork and Mindy.
And I said, that’s Robin Williams’ show. And he said, and there was a time, he said,
who’s Robin Williams? I said, don’t tell Gary. Robin Williams is a genius. I’ll work for free to work
with Robin Williams. Don’t tell Gary that. So my first day on the set, the show wasn’t on the air
yet.
And so I went to see the the taping of the show before mine so I could see what I mean, I knew the
Mork character from Happy Days, but I didn’t know the relationships of the character. So I went to
watch the taping and, you know, on the on the dinner break, I’m in the commissary and I can see
Robin over there with all of his Topanga Canyon friends with every, you know, the Mohawks, purple
Mohawks and everything pierced in 1978. And looking at me and I know he’s thinking,
oh, God, what did they send me? Miss White Bread America here. And so that, you know, we got up
that morning. We did the table read. Very funny, very funny. And then we got to start blocking. And
for listeners or viewers who don’t know, blocking is when you actually get a show on its feet and
sort of say, OK, you’re going to sit here and then you’re going to stand up and walk over here and
do this in the kitchen. And, you know, and with the three camera show, it’s tricky because there’s
three different cameras and you can’t block anybody. Anyway, so we start blocking and I. kind of
caught on right away, what would happen is they’d start with the script. And then Robin would just
- And everybody would just stand back and watch Robin go until Robin would slowly run out of
material. And he would never admit he would run out of material. But, you know, then it was the
director’s job to come and say, OK, let’s get back to the script. And so I got up and we s started the script. And then he threw something out and I threw something out and he looked at
me and I threw something out. And we’re going back and forth and back and forth. And, you know, and
he came over and he grabbed me by the waist and like threw me in there. He says, Mama, you’re one
of me. And we would just improvise all over the place. We had so much fun.
And, you know, he’s hard to keep up. Robin was so smart and so fast and so funny.
So it was always just like getting into a race with someone to just keep up with him and keep
throwing things back and forth, back and forth, back and forth.
But we just we had a wonderful time. I mean, you know, Robin was a wonderful. man,
wonderful actor, wonderful comedian, and just a wonderful human being. Everything you ever thought
good about Robin Williams was true. He was just the nicest guy. And very missed.
I mean, very missed. And kind, a very kind person.
Colleen: There are certain people when they pass, it’s like a moment. You just remember that moment of it’s
before and then it’s after. And his death was one of those where you just kind of stopped and went,
wait, he has to be here. He can’t not be here.
Bridgett: He’s one where you remember where you were.
And I was I was at a nail salon with my daughter and it came on the TV at the nail salon.
You know, it’s so strange, but that is why I remember where I was when I heard that news.
Morgan Fairchild: Well, I was rehearsing a play in Kansas City and they called CNN called and I had to get out of
rehearsal early to go over to CNN and talk about Robin. And then two weeks later, CNN called
because Joan Rivers died, who was also a friend. And, you know, and, you know,
I love Joan. We’d done a TV movie together and she was great and just a great,
terrific lady. And that one was so unnecessary, too. So, you know,
it is.
Colleen: You do you remember exactly where you were when certain people were who,
you know, who were very much part of the zeitgeist of a time and just beloved.
I mean, like Robin was beloved and a lot for his acting and his hysterical chops as a comedian.
But also just because I think he just exuded. kindness and goodness,
you know, people, everybody felt they knew him.
Bridgett: Yeah, they did. And then even Joan Rivers,
my daughter loved Joan Rivers. We went to see her that like a few months before that happened. She
was touring and we went to see her because my daughter loved the, what was it called?
Fashion police? I don’t remember what it was called. Something like that. My daughter loved that.
Colleen: Yes. Yeah. And they do. There’s just a light. that they have that just goes out and you’re like
that’s not possible that light can’t be gone right? I think that that’s definitely you have so
many great stories and I love things you do and you tell them so you’re definitely a storyteller so
would you share the one with Bette Davis where she told you were the only person that she met
that day that oh I don’t want to say it.
Morgan Fairchild: Well, what happened was,
you know, I had taken the pilot of hotel with Jim to have scenes with Bette Davis.
And so she did the pilot and unfortunately became ill and was not able to do the series,
but she did the pilot. And I just always remember because I was so excited and I had like one big
scene with Bette Davis and I’d been warned, you know, she doesn’t like other women.
She is always early. She, you know, will bark at everybody and she’ll be yelling at the crew. Why
aren’t you ready? She’s, you know, always waiting on everybody. And so I got to this location we
were shooting in Hancock Park, which for people who aren’t familiar with L.A., Hancock Park was
the real rich area in the 20s that the older movie stars, you know,
lived in. Actually, Muhammad Ali lived there and a lot of famous people now live there. But I mean,
it’s not Beverly Hills. It’s older, more grand of the 20s period. Anyway,
huge mansion we’re shooting. I get there and I do my own makeup. My makeup trailer is lost.
My trailer, my dressing room is lost. And I’m sitting on the lawn in front of this giant mansion,
knowing Bette Davis is going to be waiting on me. I’m like terrified and um finally my trailer
gets there fortunately it was a scene where I don’t come in at the beginning I come in part way
through so they could start doing the master what we call the master where they could start the
scene without me so my trailer finally gets there I’m slapping on the goo you know and grab my junk
and run into the house and you know I walk in and Elaine Rich, the producer, comes over to me and
says, oh, thank God you’re here. He says, have you met her? I said, not really. And I mean.
And I had kind of like I had presented on the Oscars the year before. And she and I were standing
backstage. She’s chain smoking. And we’re like this close. And she never acknowledged me. And
then we’d been at a couple of gala dinners together where we’d been at the same table. We’d been
introduced and she never spoke to me. So, you know, Elaine says, do you know her? I said, well, not
really. Anyway, she said, well, come meet her. So I go over and says, you know, Miss Davis, Morgan
Fairchild. Hello. I said hi. And I start to go and she says. Oh, yes, we met at the Valentino
Awards. And I’m, oh, I didn’t think you’d remember me, you know,
(since you never spoke to me). So I start to go with all my junk,
my script and everything I’m carrying. And she says, and I’ve got something to say to you. And the
whole set stops. You could hear a pin drop. And I’m like,
yes, ma’am. And I turn back around and she says, You are
Marvelous. And I about dropped my teeth. Well, thank you. I started to go. She says “and another
Thing”. And she starts going down everything I have done on film or TV up to that point.
And just, you know, this and she liked that. And finally, you know, she, when I said, no, it was a
real stinker. I said, Miss Davis, that’s very kind of you, but it wasn’t a very good movie. And she
says, I saw what you were trying to do with it. She says, you’re the only one around today that has
the acting chops and the glamour like we did. And I said, thank you. Finally,
I go back and Elaine Rich comes over, the producer comes over and says, me, I can’t get a good
morning out of her, but you are f______ marvelous.
I love that story. And she just kind of adopted me. She followed me around the set all day and,
you know, just kept saying, you know, she was. You know, by that time, she’s like this tall. (short) And
she would follow me around, you know, chain smoking. What should I expect with these bastards? I’ve
never done a TV series before. So I’m telling her stories of my fights with, you know, studios and
stuff. She says, that’s what I like about you. You’re just like me. And when I stood up to Jack
Warner and I’m like, no, no, when you stood up to the Warner Brothers, you changed the business.
The business was never the same after that. And she’s like, you know, standing here looking up at
me saying, how tall are you? And I said 5’4″. She says, me too. Thank you. Well, maybe once.
But she kind of adopted me and we became friends. I mean, you know, after all the warnings of, oh,
she hates women and all this, she was so kind to me and so nice. And, you know, and I treasure
that. I treasure those stories.
Bridgett: Wow. That is, that is so amazing. I mean,
you, you know, and I know I’ve, I was reading your biography that you’re a collector of Marilyn
Monroe things.
Morgan Fairchild: Yeah. Yes. Yes.
Bridgett: And she was in, I always hear the story about all about Eve that
where she met Marilyn Monroe was kind of not as kind maybe to Marilyn Monroe as she was to you.
But you always hear that Marilyn Monroe was really
late to show up. And I mean, I’ve seen clips of Bette Davis where. She will say,
you know, she said people who she didn’t want to work with, but she’ll say like Joan Crawford
always knew her lines and she always was on time. So I think those courtesies are just really
important to people.
Morgan Fairchild: Again, that’s one of the reasons I think of when I’m coming up and working
with the older stars. I know Jane Wyman said, you know, you’re just a real professional. You know,
it’s always a joy to work with you. You’re a real professional. And again, because you you show up
on time, you know your lines, you have done the homework, you show up ready to go. You’re not like,
oh, let me think about what I’m going to do here. You know, you’ve thought about it. You’ve worked
that you were a workhorse, as they say, a workhorse and not a show horse. You look like a show
horse, but you’re a workhorse. And so a lot of the older stars always would say things like that
to me. And I know there were certain people that, Jane and Bette and different ones didn’t like
working with because they weren’t professional. You know, it’s like when young people start out,
I always say those things, you know, you be on time, you know, your lines, you know, you do the
homework ahead of time, you show up, you do all this because only God can make you a genius, but
you can make yourself a professional. And that’s the highest compliment in any business is to be a
professional.
Colleen: Absolutely. That’s wonderful. That’s going to be in definitely one of the clips,
Bridgett, right?
Bridgett: That might be the starting one.
Colleen: Oh, exactly. Along those lines, how is Hollywood,
number one, changed in doing TV series and streaming. And also,
are you finding that now there are more roles for women over the age of 50? We talked to so many
women who say, well, now women are getting older and we want to see ourselves represented on
screen. Are you finding that?
Morgan Fairchild: No. I mean, I’m finding that women would like that.
I’m not finding that the studios are doing it very much. I mean, you have your odd ones that are
hits and stuff.
Yeah, I’m hearing a lot from women in my age in the business that,
you know, they’re just not writing anything for us. And so, you know, you’ll have, you know,
Harrison Ford with a girlfriend who’s 30, you know, and it’s always been somewhat that way.
It got better, frankly, in the 70s and 80s. Like when I was when we were doing the primetime soaps,
I’m working with Barbara Rush and Stella Stevens. And when I’m doing Jane Wyman and then Bette
Davis was going to be on that series. You know, I’m working with older actresses and actors,
and now they don’t seem to value that as much anymore, that multi-generational kind of thing.
I mean, on Dallas, you had Barbara Bel Geddes and, you know, it was a family. You had it was a real
representation, maybe not real in that Dallas was a little over the top, we could say. But,
you know, but that there was a more real world represented. And now they just don’t seem to care
about. So I know a lot of people say that, you know, that they would like to see somebody like me
represented on stuff. But I don’t know that the studios are listening. It’s, you know,
the problem is a lot of it has become kind of what we would call bean counters. It’s the corporate
interest. And let’s make a clone of this hit show instead of trying to come up with something more
interesting. So you don’t see an Edith and Archie Bunker now. You know, you don’t see some of the.
cutting edge kind of things that you saw in the 70s and even in the 80s of things where,
you know, I mean. Who would cast Archie Bunker as the leading man? When I first came out here, I mean, I was doing Barnaby Jones. I did a couple of
those with Buddy Ebsen as the leading man. And, you know, Peter Falk was the leading man,
you know, but also there were women. I mean, and, you know, Angie Dickinson wasn’t older.
She was older than, you know, than the kids, but not an older woman. But I mean, it was unusual for
an older lady to be doing a lead in a series at that time. But it opened the doors for so many
other things. And the 80s, I thought, were kind of a good time. I mean,
you had Golden Girls. You had a whole series with older women. And you had a lot of shows that kind
of played to a little more real world, even if they were comedies,
than what we’re seeing right now. Right.
Bridgett: We’ve had a guest… that will come on and say,
you might see the same actor in the same thing. So maybe there’ll be one actress that’s getting
every role. And, you know, but,
you do have like, like June Squibbs getting roles now where she was the lead,
few and far between comparing it to men.
There’s so many more roles for men than there are for women. And we would like to see women. And,
you know, I know I saw the 80s Diva Christmas special. I watched that.
Yeah. And I mean, we’ve had we’ve had Linda Gray on before. And it’s wonderful. And I mean,
to me, I love all the people that were in that because those are the things that I watch.
And I love those. I like to just see them again. I want
to see these people again.
Morgan Fairchild: So we had so much fun making that we were really sort of hopeful
there’d be a sequel, you know, because we had so much fun. It was so great. We were sitting,
you know, because we would sit around between scenes and gab, you know, and I looked at Linda and
Donna one day and I said, you know, back in the day when we were together at lunch or something, it
would be like, oh, who are you dating? What are you wearing? You know, now it’s like, how’s the new
hip? You know, how are the grand kids?
How things change. We’ve all known each other for so long. You know, it was funny because when we
started that, I didn’t realize I was the only one who knew everybody.
Because I’d done Dallas with Linda in 78. And we’d always stayed in touch. And we’d do the Dallas
reunion autograph shows and all that stuff. So I see Linda and Patrick. And then Donna and I had
done a couple of Bob Hope specials together. So I knew Donna. And Loni, the same thing. We’d done
Bob Hope specials together. And then Nicolette Sheridan had done her first series. It was one of my
series called Paper Dolls. It was, I think, her first TV show. And so I was the only one who knew
everybody. And, you know, so I felt kind of like a little, you know, center of the wheel there,
you know, all the other spokes go out. Yeah, yeah. But we had so much fun. It was so much fun.
We really were hoping to do another one. And then, of course, we also lost Loni, who is also one
of the sweetest ladies in the world. And just not enough words to say nice things about Loni.
Just a doll. So talented and so funny and just so nice.
I know people like to, you know, when it says, oh, the Divas Christmas, they’re thinking, oh, all
these bitches getting together. Is it going to be a big cat fight? And no, it was like a love fest.
Colleen: Yeah. But there is such an audience that wants to see that.
So I’m surprised they wouldn’t do a sequel.
Morgan Fairchild: Well, tell Lifetime. Tell Lifetime.
Bridgett: Well,
We need to get on our email.
Colleen: All right, everybody who’s listening
to this. We need to see them again. Yeah, tell Lifetime you want to see a sequel to Diva’s
Christmas. Yes, we like the divas. Ladies in the 80s. Yes. What are you looking forward to now?
What’s the next thing you’re looking forward to?
Morgan Fairchild: I’m negotiating a show right now that I can’t talk
about yet because I haven’t signed the contract that would start shooting this summer. And then I’m
writing a book proposal for my stories, my little funny stories,
writing book proposal. And I’m hoping that’ll go through. And then I just did a staged reading of a
show called Marilyn, Mom and Me, that one of my friends who’s a director who directed me in New
York on Broadway 25 years ago. His mother was Eileen Heckert and Eileen Heckert won an Oscar for
Butterflies Are Free. She had a lifetime achievement for Tony’s Big Broadway star, two Emmys.
I remember from the play, two Emmys, not just one. And but she also played Marilyn Monroe’s
best friend in Bus Stop. And so this play is kind of Luke,
the son, who wrote the play, trying to get these stories about Marilyn out of his mother because he
always felt that it had this profound effect on her. And she was kind of a hard-nosed lady.
And he thinks her relationship with him because of it, even though he wasn’t born yet at the time,
but his two older brothers were. And so there’s a famous picture of Marilyn with his two old
brothers, with Eileen, you know, from bus stop on the set at the rodeo.
And so it’s a play kind of told in flashbacks of him trying to get this out of his mother.
as after she’s been diagnosed with cancer and is, you know, trying to still keep her secrets.
And we had so much fun. We did a staged reading down in Palm Springs and it was so much fun.
And again, I, you know, such an acting challenge for me. I like the challenges to play a lady who
looks nothing like me, who’s a tough as nails broad. And
you know, and pull it off. And I felt like we did pull it off. And so I’m looking forward to
maybe doing some more stage readings of that or whatever. They’re hoping to take it to New York,
you know, some and do it as a play in New York. So I just, you know, every week,
every week you get up and say, what can I do this week? You know,
I’m looking for that book deal. I’m looking for this new show. I’m looking for ways to do that
show. And, you know, just always. Finding new things. It’s just important to always find new things
to do. My sister and I were talking about it. It’s another reason we kind of want to do the podcast
was that we’ve had so many friends that we know that have kind of even younger than we are that
have kind of retreated into old age. Like, oh, I can’t do that anymore.
You know, and certainly, I mean, I’ve had two hip replacements. There’s certain things I can’t do
anymore. But you find those things that interest you. You find those things that get you out of the
house. I try to go for a walk every day. And you do things that get you alive.
You know, you keep your brain and your soul and your spirit alive. You just find things
that make you want to live. And that’s the important thing.
Colleen: That’s such wonderful advice.
I can’t wait for the stories. Yes. I’m like, that needs to be a documentary. We will be first and
second in line to get the book. Thank you. It is such a privilege to have this conversation with
you and Bridgett and I hope that you come back when your book is done and your show is ready
because we would love to talk to you more about all that. Thank you so much.
Morgan Fairchild: Thank you. Thank you.