Johnny Caps 1960s, 1970s, 1980s, 1990s, 2000s, 2010s, 2020s, 240-Robert, Barbarians At The Gate, Blade Runner, Buffalo Bill, Bullitt, Chiller Theatre, Club Paradise, convention, Conventions, Don't Tell Mom The Babysitter's Dead, Joanna Cassidy, Modeling, Murder She Wrote, Night Games, Odd Mom Out, Shields And Yarnell, six feet under, Star Trek: Enterprise, Superman: The Animated Series, The Outfit, Together Forever, Under Fire, Who Framed Roger Rabbit 0
I go back a long way with my next interview subject’s work. I first saw Joanna Cassidy in Who Framed Roger Rabbit, which I saw at the age of 5 with my family at a drive-in double feature with Big Top Pee-wee. Ms. Cassidy’s work in Who Framed Roger Rabbit as Dolores really made an impact on me. As I grew older and my 80s fandom blossomed, I would see her work in movies as diverse as Blade Runner, Under Fire and Club Paradise, and find her to be a unique and outstanding presence in each film. I met Ms. Cassidy at the Chiller Theatre convention in April of 2018, as shown in the cover photo, and it was great to meet her. I’d always hoped to interview Joanna, and last month she took some time to speak to me about her long and wide-ranging career. I hope you all enjoy reading this interview.
Say hello to Joanna Cassidy!
Johnny: You started out as a model. Who were your favorite designers to work for, and what are the most outrageous fashions you can recall wearing?
Joanna: Well, if I named some of the designers, I’m going to be dated. There was Rudy Gernreich, and there were holes in the middle of the dresses, which was pretty outrageous at the time…Short white dresses with holes and little white boots. Halston was fabulous. Anything that made me look long and lean, that’s what I wanted to wear.
Johnny: Alright. What led you to make the transition from modeling to acting?
Joanna: Need (laughing). Modeling only lasts so long, you know, and then you either marry a very wealthy man, and spend the rest of your life in luxury and don’t think about anything, or you do something that’s just fabulously challenging, unless you’re, like, Naomi Campbell and you’re booked for life. Naomi was a New York model, too, and New York models do a lot better than, initially, California models, because they’re exposed to all the brands. I just like to change it up.
Johnny: Well, you’ve certainly done a great job of it.
Joanna: Well, thanks.
Johnny: One of your first roles was an uncredited role in Bullitt, the classic Steve McQueen thriller. What was it like being on the set of that movie?
Joanna: Well, (laughing) Steve McQueen was possibly one of the most gorgeous men I’d ever seen in my life. It was a real pleasure looking at him, and in the first scene I was in, he was right there with his gorgeous blue eyes. It was all very exciting to me, and I had never been exposed to anything like that. It was so fantastically thrilling. I mean, I just didn’t even know what I was doing, really. An opportunity presented itself, and they wanted to know if anybody had a fur coat. I did, and then you could be at the party in the movie, so there I was. It was amazing.
Johnny: Cool. Your first credited role was playing Rita Mailer in The Outfit. Had you read Donald Westlake’s novel before filming it, and if so, how did it influence your portrayal of Rita?
Joanna: Well, I didn’t read it because I think it was all so new to me. I was a big reader, and still am. In fact, I devour books. I just love them, but that job came up very quickly. I had it, and then all of a sudden I was on it. I didn’t read the book. I was working with Robert Ryan. Why would I waste my time reading a book when there were the most interesting actors around? I mean, Robert Ryan was major. There was Joe Don Baker. Karen Black was on that. Oh, my gosh, the actors on that movie were incredible, and I read for Karen Black’s part with the director, who had passed on at a very young age.
Johnny: Since you speak so fondly of Robert Ryan, what was the best advice he gave you when working with him?
Joanna: That was one of his last movies before he died. He had cancer and he was in a great deal of pain. I can remember riding in a limousine with him from the set at the studio, where we had our cars parked. I sat in the back of the limousine, looking at him with his wide face, and he just said, “Enjoy the ride, Joanna. Enjoy the ride”. That’s what I remember most.
Johnny: In its’ own way, that is really great advice on how to not only approach acting, but life itself as well.
Joanna. Absolutely. Enjoy the ride. That’s pretty profound.
Johnny: I can definitely agree with that. To go to my next question, your cinematic travels in the 70s took you to Europe for a giallo film with the English title Together Forever, where you played another Joanna, Joanna Morgan. You’re the first giallo actress I’ve interviewed, so what do you think the appeal of the genre is to so many horror buffs?
Joanna: Maybe because it was a little sexy, you know? I think films during that period were very sexy (laughing). They had a looseness to them. They weren’t contrived. I mean, they were, in a way, but they weren’t really. Do you catch my drift?
Johnny: I understand.
Joanna: I thought you would. You’re a smart guy.
Johnny: To go to my next question: To jump from the big screen to the small, you were a regular on Shields and Yarnell, the variety show hosted by the noted mime duo. A rather unique concept, what was your favorite memory of working on that show?
Joanna: I don’t know that I have a lot of favorite memories (laughing). I remember getting dumped upside down into the washing machine, and soap poured on me. We were the couple next door, so they came in and did very strange things to us because they didn’t understand us. I’m trying to remember this. I was in every one of those shows, and they were really so silly. Have you seen any of them?
Johnny: I’ve seen clips on YouTube, but I’m more familiar with them from outside contexts, like their appearances on the Disney specials I would watch on The Disney Channel, and the late Lorene Yarnell’s work as Dot Matrix in Mel Brooks’ Spaceballs.
Joanna: They were both incredible. They were physically amazing, and they looked like each other. They looked like twins. He would just lift her up, and she was light. They were both like pixies, you know, and just so agile. The first time I ever saw them was when Francis Coppola did his movie with Gene Hackman, The Conversation, and there they were in Golden Gate Park. It was so funny. I used to be in the park all the time with my daughter, and I’d seen them at Union Square. That’s where they used to hang out and perform, down by the marina. Robert became an artist in metalwork. I have one of his pieces. It’s very interesting.
Johnny: Alright. Going to another credit, you played Deputy Morgan Wainwright on the series 240-Robert. As some actors who work on police TV shows or in police movies later worked as honorary or auxiliary police officers, did you ever consider doing so yourself? I’m thinking of how Erik Estrada, who was on your competitor, C*H*i*P*S, works as a real cop on occasions, so I was just wondering if that opportunity ever presented itself to you.
Joanna: Well, it didn’t, but the head of the police department at the time thought I could have done that. I learned every skill for that show. They taught us everything, how to spin cars, how to dive, how to rappel, how to shoot. I was flying that little Bell jet helicopter around, and there were dual controls in it. It was such a long time ago, but it seems like yesterday.
Johnny: To go to my next question, moving into the 80s, what can you tell me about working on the Roger Vadim movie Night Games, where you played Julie Miller?
Joanna: I can tell you that he wasn’t a terribly pleasant man (laughing). I think that it was filmed in the wrong place. I don’t think it should’ve been filmed in The Phillipines, but it was a strange movie, so maybe I’m glad that it did. It wasn’t terribly successful. We shot part of it on the beach in Santa Monica.
Johnny: I know it’s never gotten a physical disc release in the United States, and I hope that one of the studios that has a deal with StudioCanal, the owners of the Avco Embassy library, will one day license it out because I’d really like to see it.
Joanna: You never saw it?
Johnny: I try to go for physical media and, regrettably, the VHS tapes are pretty expensive and I don’t have a VCR. It hasn’t been released on DVD yet, but I do hope it will get a physical disc release someday.
Joanna: At some point in time, yes, I hope it does, too. I’m trying to finish off my filing. I am obsessed with having every single piece of film I ever did. I’m obsessed about having it as I’ve got a very complete file system of my work, and I have almost everything.
Johnny: Well, I hope, for your sake, it will get a release as well. Now I do come to a question about a movie I most definitely have seen. You played Zhora in Blade Runner, one of my favorite movies of all time. What do you think has given Blade Runner the staying power it has?
Joanna: A lot of things. The music, the visuals…It was the first of its’ kind. There wasn’t a person on there that wasn’t just extraordinary, and everyone that was on it was being led by one of the greatest filmmakers of all time. Ridley Scott is a brilliant, brilliant director. It was just a combination of everything, and everyone was so skilled beyond what they had to be. I mean, Syd Mead, who just died, produced drawings of all the cars that were eventually made and, in fact, made by a friend I’ll be going out to visit. He lives out in the Mojave desert, and he’s still painting cars at 83 years old.
Johnny: It’s definitely an amazing movie, and it made an impact on me in this way: I’m on the autism spectrum, and to me, the Replicants remind me a lot of people on the autism spectrum, whether it’s in the way their intelligence and spirits are underestimated, or in their difficulties relating to people. Do you read the Replicants as autistic, or do you interpret them in a different way?
Joanna: Oh, totally, and I get it. I absolutely understand what you’re saying. Maybe that’s why I was so attracted to the part. Maybe that’s why I got it, because I think I’m a little bit in your group myself. I’m sociable, but I’m a little challenged in that area, and certainly the Replicants were. They knew that they were built to survive, but they only had four years. That’s it, and our group came to Earth because we wanted to change that chip. We wanted to fix it. We wanted to be alive more. They were highly intelligent, highly focused, highly functioning in their own way and their own skills. Capice?
Johnny; Oh, I understand perfectly. That’s why I see a lot of them in myself as a man on the autism spectrum, and that’s why the movie really spoke to me in the way that it did. I actually was kind of rooting for the Replicants myself.
Joanna: Yeah. Well, I think you do. That sort of leads me to a question: Did you root for the Replicants in the second Blade Runner?
Johnny: I actually have not seen the second Blade Runner yet.
Joanna: Oh, my goodness. You’ve got to see it. Ours’ was better, by the way. Ours’ was much better. The first Blade Runner had so much soul and heart to it. The second one, and this is just my feeling about it, so it may not be yours’, but the second one felt very removed and remote and not connected, but you’ll see it and see what you think.
Johnny: I will. Jumping back to television, you played Katherine Demery on several episode of Falcon Crest. What was your favorite part of working on that show?
Joanna: Meeting Robert Foxworth, he was so cool, and meeting Jane Wyman, the matriarch. I mean, she was part of the group of movie stars that, when I came to California when I did, were fading out. They were already elderly people. Robert Ryan, Jane Wyman, Jane Russell I met. I met Burt Lancaster, who I think also made one more film with Robert Ryan before he died as well. I mean, they made their last film together. They were already in their late 70s or 80s, and they were on the road to another place, but they taught me so much. God, they were different than today’s actors, so different.
Johnny: How lucky you were to ride along that road with them, if only for a little while.
Joanna: Mm-hmm. True.
Johnny: Jumping back to the big screen, you played Claire in Under Fire, the dramatic thriller about journalists in Nicaragua in the late 70s. A powerful drama about journalism, do you see any similarity between the treatment of reporters under the Somozoa regime in Under Fire and the treatment of reporters in our current political climate?
Joanna: Well, no, not so much. Reporting today is a big machine, and it’s all about the ratings. It’s all about how much you can sell. Now, mind you, of course those reporters wanted to be on the cover of Time also, you know, (laughing) but that wasn’t so much the push. I don’t think it is today. Today, there’s a large table of hosting opportunities for reporters. I mean, I look at some of the people on the major stations like CNN and Fox, and they have a lifetime of reporting. That’s really interesting to me. I think it takes a while to develop your character, so to speak. It really does take people a long time to become who you really are. Maybe in the beginning it is all about greed and ambition and power, but then as you grow older and more mature with your work, the concept of your own internal passion about what you do becomes much stronger than positioning. You know what I mean?
Johnny: I understand. On a lighter journalism-related note, you played Jo Jo White on the series Buffalo Bill, a project which earned you a Golden Globe for Best Performance By An Actress In A Television Series. Of all the episodes of that series, which was your personal favorite?
Joanna: Well, I loved the one that I won that Golden Globe for, and that was about the abortion. I loved that episode. It was a terrific show. It was a two-parter, and I was nominated for an Emmy for that, too. I didn’t get it. Jane Curtin won the Emmy, but the Golden Globe was pretty good. That was my favorite show. The director was a female. I loved working with Dabney Coleman. I mean, you want to work with a good actor? He was phenomenal. Just amazing.
Johnny: How lucky you were. Speaking of actors who are phenomenal and amazing, you played Terry Hamlin in Club Paradise, and shared scenes with the late Robin Williams, who played Jack Moniker. Knowing his propensity for going against the script, what was it like to work with Williams?
Joanna: Well, I don’t even have to tell a story about myself. I remember being on the set one day when Robin was working with Peter O’Toole, and Peter had this long, long speech he had to give. All Robin Williams had to say was one line that I think consisted of three words, and Peter’s going on and on and on. It’s about a five-minute take. He had a lot to memorize and a lot to talk about, and Robin Williams kept blowing it. He didn’t say the line right, and Peter O’Toole got so pissed off. He said, “I won’t work with this actor anymore. I refuse to work with him”, and off he went until he got calmed down. Robin had to have the attention. He had to have it. He was insatiable.
Johnny: Do you mean that in a good way or a bad way, since it seems like your opinion on working with him is kind of mixed? Of course, everybody has their own experiences.
Joanna: No. I think he was definitely tormented in a way that he had to have so much attention. I think he was tormented, but it created genius in him. The man was a genius. I don’t know that I could have lived with his mind. You know, he was always rolling. He had to be on. A lot of comedians are dark. You must know that…Very dark. I think it’s a double-edged sword. It’s a gift, but at the same time, you’re paying for every second of it. It’s not a still mind, or one that can be stilled easily.
Johnny: It was tragic what happened, but how fascinating it must have been to work with him/ Coming to another movie I definitely did see you in, in 1988 you played Dolores in Who Framed Roger Rabbit, which was not only the first movie I saw you in, but, alongside Big Top Pee-wee, one of the first movies I saw as a child at a double-feature with my brother and parents at a local drive-in.
Joanna: (Laughing) Wow.
Johnny: Yeah. Who Framed Roger Rabbit made a big impact on me and many of my generation. What are your favorite memories of working on that movie?
Joanna: It wasn’t an easy movie to work on, but certainly interesting. Robert Zemeckis (laughing) was such a boy. He was so boy-like. He was hugely enthusiastic and loved the project. It wasn’t easy as it wasn’t digital. Every single frame in that movie was drawn. It was like the old days at Disney. Well, it was a Disney film, but anyway, Bob Hoskins was…Again, what an opportunity I’ve had to work with these incredible actors. He was amazing.
Johnny: He absolutely was.
Joanna: He could get into that character, playing with nothing there, so easily. He was just another hugely gifted man.
Johnny: His performance was amazing. The whole film was amazing. I watch it whenever I can. It definitely made a tremendous impact on me. Speaking of which, some people wonder why Dolores disappeared for most of the last third of the movie, not being seen between the movie theater reconciliation with Eddie Valiant and the defeat of Judge Doom. What do you think Dolores was doing in that period of time?
Joanna: Probably getting drunk (laughing). She was in love with Eddie, and it seemed to be a rather unrequited love. You know, there wasn’t really that much written for the character, and I think that what ended up happening was that Robert Zemeckis ended up falling in love with the animated characters (laughing). I’m not quite sure. It was supposed to be a kids’ movie, but it really wasn’t a kids’ movie at all.
Johnny: I can definitely see, looking back now, how it definitely was more adult-oriented than its’ rating would suggest, but it was definitely a blast to watch. One more question before I move on to other projects: Is it true that Eddie Murphy was originally up for the role of Eddie Valiant before Bob Hoskins was?
Joanna: Oh, gosh, I don’t know. I have no idea. That’s very interesting. I don’t know.
Johnny: I recall reading that on a website called notstarring.com where they listed the talents who almost were in various movies. i think that if Eddie Murphy had gotten the part of Eddie Valiant, it definitely would’ve been different, and it would’ve put a bit of a human element to the Fantastic Racism angle, as TV Tropes would put it, of Who Framed Roger Rabbit.
Joanna: Well, listen, they’re remaking Don’t Tell Mom The Babysitter’s Dead with a black cast. Maybe they’ll redo Who Framed Roger Rabbit with a black cast (laughing).
Johnny: That actually does lead me to ask about Don’t Tell Mom The Babysitter’s Dead, where you, of course, played Rose Lindsey. You’re the second cast member from that movie that I’ve interviewed, the first being my good friend Kimmy Robertson, who played your assistant Cathy. What made that movie such a standout in your career?
Joanna: Oh, I just loved Rose. I just felt she was such a cool lady, just so funny and fun, and such a sweetheart, and so naive with all her world-weariness, you know? She really was a broad, and I kind of played her that way. I played her like Rosalind Russell, or with a Mae West sort of spin, if you know what I mean.
Johnny: I do, and it was definitely an enjoyable movie. I know I say that a lot, but you’ve definitely starred in some great projects, and you’ve always been a highlight of each one you’ve appeared in. Speaking of which: Moving into 1993, you played Linda Robinson in Barbarians At The Gate, one of the first of HBO’s Tv movies to really make an impact. What you say the difference in ethos was between HBO’s TV movies and those of the network TV movies you worked on in the same time period?
Joanna: What was the difference? Well, first of all, you could curse and have more sexuality. That was a big difference. The scripts were far less contrived. They were much different.
Johnny: Staying with TV, you’re the latest of many Murder, She Wrote guest stars I’ve interviewed over the years as you played Willie Greenwood in the episode “Roadkill”. What was it like to work on that show?
Joanna: Well, there are some shows where, once again, I’m working with one of the most thrilling actresses of all time. You talk about professionalism? My god, Angela Lansbury was incredible. We didn’t have long hours, either. You came on the set, you did your thing, and that’s it. She was just a kind woman, and very generous. She was just a lovely, lovely woman to work with.
Johnny: That’s the common thread I’ve gotten from the many Murder, She Wrote guest stars that I’ve interviewed, that Angela Lansbury is great to work with, and I’m glad of that. You’re a memorable part of the DC Animated Universe as you voiced Maggie Sawyer on several episodes of Superman: The Animated Series. What do you think that show got right that so many Superman adaptations have gotten wrong? I guess I’m speaking about it from the perspective of how a lot of recent adaptations of Superman have turned him into this dark, dreary, depressing figure, like in Man Of Steel and Justice League, and even going all the way to Smallville. They take Superman and they make him into this dark, tortured individual, and I didn’t get that from The Animated Series.
Joanna: Which did you like better?
Johnny: I prefer Superman: The Animated Series to Man Of Steel and Justice League and all that…
Johnny: …Because Superman is supposed to be this noble character who people see the best of and aspire to be like. I mean, darkness works for a character like Batman. It doesn’t work for a character like Superman. At least that’s what I feel.
Joanna: Well, I think they’re two very different things. I think in comic books these characters can be these super, superheroes. I sort of agree with you. I don’t know why filmmakers have to bring them down to human level. I don’t understand that, but somehow they feel that they do, and that just doesn’t seem necessary to me.
Johnny: Me, either.
Joanna: I mean, I don’t know why they have to be the same as us. They’re people that are hugely different than us. Even as humans, you’re very different. I’m different. Why do we have to be the same? Why do we have to wear the same clothes? I mean, not anymore. It’s become pretty much individual, and we fight to have our own space. I mean, I marched around The Vietnam War. I didn’t want young men to go to war. I thought it was a terrible thing, even though I love my country. I’m very proud of America. I’m proud of being American. I still don’t want 17-year-olds to go to war. I don’t think they know what they’re doing. It’s a bad choice. I don’t think 16-year-olds should get a license (laughing). I don’t. I don’t think they know how, really. They’re just not old enough, especially in this day and age. I don’t think people should get married until they’re 30. How’s that one? Do I sound like an old fart? (Laughing)
Johnny: No, I wouldn’t say that. I definitely think that 30 is the age when one reaches maturity. It certainly was for me, and I can definitely see where you’re coming from with that. To go back to you, moving into the 00s, you played Margaret Chenowith on the series Six Feet Under. Another HBO production, what did working on that show mean for you?
Joanna: A lot of notoriety. I mean, I think that people really saw that show and reveled in it. They respected it, and just loved it. It was a wonderful show for me to do. You know, I was only hired for one episode, and then one became two became three became SIX. I was never a regular on that show…Just one show under a regular, but it certainly was an incredible show to be on. Incredible.
Johnny: Very cool. Concurrently with your work on Six Feet Under, you made several appearances on Star Trek: Enterprise, playing the character of T’Les. Some view working on the Star Trek franchise as a blessing, while others regard it as a curse. What was it to you?
Joanna: I think it was great. I think that everything I’ve done…I’ve been so lucky to do it, very fortunate, and the bigger, the better. Why not be in it? There was a time in my career, early, early on, where my manager said, “Hey, listen. You can do one or the other. You don’t do television if you’re a movie star”. Well, now that’s totally different. Now you don’t do movies if you’re a television star. You know what I mean?
Johnny: I do.
Joanna: Nowadays it’s fabulous to have a show, like now. I’m working with Scott Bakula again, you know, playing his mother on NCIS, and he’s incredible. He’s just amazing. I like being watched. I like it.
Johnny: I’m glad it’s working out for you. Speaking of roles along those lines, you played Candance Von Weber on Odd Mom Out. You talk about that show a lot on your social media, so what it makes it hold such a place of pride in your career?
Joanna: I’m not sure. I guess it was, maybe, partly because I was sort of an old broad being with a bunch of young, hip comedians, and that’s always fun. I could hold my own. It was just fun being in New York doing a show.
Johnny: Alright. Moving from acting to other forms of creativity, you have quite an active artistic life. For example, you’re an accomplished photographer. Who have been your biggest influences as a photograher, and which pieces are you most proud of having photographed?
Joanna: I haven’t done as much photography as I would like to have done. I mean, to call oneself a real photographer, you have to have a camera all the time, and I don’t mean a cell phone. I would have liked to take more pictures, frankly. I love to photograph, but what is real? It’s not real unless you’re really doing it, but like that book called The Outliers, you have to do something 10,000 hours before you can call yourself that, then you’re real.
Johnny: I can understand where that’s coming from. It certainly took me a long time to become the writer I am today, but to stay with you, you’ve also worked as a painter. Have you ever had an exhibit of your pieces in a museum or at a gallery?
Joanna: As a photographer, yes. Not as a painter. That’s not necessarily a goal. I don’t have to be shown in a gallery. I really don’t.
Johnny: Alright. Jumping back into the entertainment industry, you’ve made a decent amount of convention appearances. For example, you appeared at Chiller Theatre in April of 2018, where I had the great pleasure of meeting you. What’s been the most rewarding part of attending conventions for you?
Joanna: Oh, it’s fantastic to meet my fans. I love meeting my fans. I love it because I’m very separated from them. I don’t know what they’re thinking, so it’s nice to hear what people think about different parts and what they’ve enjoyed, what they got out of it, how it changed them…It’s really interesting. I love it.
Johnny: Well, it was certainly a great honor to meet you. I actually posted the two pictures we took on my Facebook page recently in anticipation of this interview, and it was just great to look back. It was really wonderful to have met you there.
Joanna: Well, thanks.
Johnny: Oh, no problem. What’s been the most wonderful piece of memorabilia you’ve signed, whether at a convention or through the mail?
Joanna: Oh, gosh. I’ve met so many people. I got a lot of wonderful original art from playing a Vulcan in the Star Trek series. I was looking at it the other day, and it was quite special.
Johnny: I get that a lot when I speak to talents who appear at conventions. They mention the artwork they get, and I have seen examples of it shared on their pages. It’s definitely fantastic work. Now I come to my final question: You defy age with your great beauty, as proven last year with a picture of you rocking a string bikini. What’s the secret to your age-defying beauty?
Joanna: (Laughing) What’s the secret to my youthfulness? Is that what you’re asking?
Joanna: Well, very practically, a lot of good food, good thoughts…I would say meditation, probably the fact that I’m not married, which I find helpful. Good friends. I think adventuring keeps me young. I think taking chances, as I have a adventurous spirit.
Johnny: That’s definitely served you well. I mean, you look amazing to this day. I apologize if that’s a little too forward, but that’s something that many of my interview subjects have in common. They take care of themselves, and they look amazing. On that note, that does do it for my questions. I thank you again for taking the time to speak to me. It was an honor for me to talk to you. I apologize if I stumbled over my words. Again, that’s a result of Asperger’s Syndrome, the autism spectrum disorder I have, but you definitely have made an impression on me, and it was a great honor to talk to you about your wide and varied career.
Joanna: Well, thank you. It’s been a pleasure speaking with you.
Johnny: I did an interview yesterday with George McGrath, who, coincidentally, co-wrote the other half of the double feature with Who Framed Roger Rabbit, Big Top Pee-wee. I’ll be transcribing my interview with him first, and then I’ll be transcribing the interview I did with you, and I’ll send it to you for proofing and corrections.
Joanna: Okay. What was Pee-wee’s real name?
Johnny: Paul Reubens.
Joanna: Paul, right. He and I presented an award on some big television show, and he was hilarious. A very, very interesting man. Very good at what he did. Really, really good.
Johnny: He was.
Joanna: Okay. Excellent.
Johnny: I hope you have a wonderful afternoon, and I thank you again for your time.
Joanna: Okay. Thanks. Bye bye.
I would again like to thank Joanna Cassidy for taking the time to speak to me, and I hope you enjoyed reading our interview.
Coming soon to The Flashback Interview are conversations with actress/singer/health advocate Greta Blackburn, adult film star/gaming enthusiast/cult movie star Alana Evans, and comedian/actor Sandy Helberg, who will be the fourth Hollywood Knights star I’ve published an interview with this year.