Floyd Webb

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It there because the background was lumpy.

He didn't get it but that's alright.

I'm here trying to put the make on this beautiful young lady right here.

Otherwise I wouldn't even be at this silly thing.

I was invited here through my daughter who's an art student of Tom's.

It's the first time I've been to a gallery and it's very interesting.

Well what do you think about Tom Palazzolo's opening? I think it's a wonderful event.

I think everyone here is very impressed by the work that they see.

I think that his work is excellent.

What exactly do you think his concerns are about these paintings? Don't talk about that.

Just have this wine.

Oh yeah, just the wine.

That's a good idea.

I think Palazzolo has a marvelous sense of humor.

Rather theatrical, don't you think? Very theatrical and I think that comes out of his training in the Barnum and Bailey Circus Ringling Borders training.

We've got twenty minutes, seconds.

Twenty seconds left.

Yes, what shall we talk about in twenty seconds? Be clever, quick.

I already was clever, ask him.

Jerry, you want to tell a joke or? Take your teeth out.

I can take my teeth out.

I'm very happy to be a part of this film.

But the hardest thing about making this film for me was collaborating with Judy Hoffman on the finger food for the party tonight.

These are all battery mics.

Why are they there? It's been a while.

Why don't you write that on the top of the sketch? We'll do.

What? The saxophone, we saw it one scene from that.

It looked really hot.

Not really.

When you go, Bill, do you want to live north? If I can't volunteer with you, he's a nice guy.

Bill, where do you live now? I mean, how can you go and look at a bunch of bullshit? The painting and all that.

I don't want to make it like the black patent leather shoes really reflect it.

Those gutless cows, they dump all those poor people on their plane.

It's a shame, you know.

After ten years of the life of the mind, I've decided to relocate.

The life of the eye? Of the spirit.

That's all I have to say.

Just cut it there.

Relocation.

Like, with the...

Anyway, I've got to go out here and pass out some more of these things.

Like all of the people who are involved with Black Light have been doing.

They've just been so nice, the board of directors and all these other folks.

Brenda Webb, Cleo Wilson, and the Lloyd A.

Fry Foundation, and the Chicago Council on Fine Arts, and all these other folks.

I'm just so happy and so proud to be here, and I think you're out of film for real now.

And quit stepping on my shoes.

See, I've got Bill Stamets doing this.

And see, Bill's double -footed.

I think you're out of...

Hi, folks.

It just went out again.

Hold it on still.

Anyway, for 1986, I hope we get 50 films, all features.

Do you care? I do.

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