not alone. prophetical but also. how low lives alone and keeps a low profile. the mafia could strike at any minute. paolo reviews the interview footage in the editing room and gets to work on his report on . this but even if i have there were no voice stupid people who didn t have one. or i m going to stop there let s go to my
nbc said, we need you at the station to coordinate all the videotape feeds that are coming in. i went to the office that day, and we began to get these terrible reports of the violence. it s a lot of smoke. i was in the editing room with all this videotape, and there was a videotape editor that i was very fond of. he was a fourth generation southerner, white guy, and he was a decent man, and he began to look at this stuff, and i d say, eddie, it cannot go on. well, i and he would, well, look, here. i d say, eddie, look again. i d make him roll the tape back. these are cops, they re beating these people, and they re beating them nearly to death. come on, eddie, and he looked again, he said, it s wrong. it s wrong, and he lowered his head. that was the power of television. it could bring it right to your home and to your heart. you could not deny what was going on. you couldn t excuse it in some way.
things. larry always carried this little notepad in his pocket. whenever something happened he thought would make a good idea, he d write it down and eventually it would wind up in a show. you mean shrinkage? yes, significant shrinkage. it s a little thing i might notice that i could expound on. expound on or expand on? expand on. both. both. expound and expand. yeah. i got it. no, no, i d like to pay for mine. julie, don t insult me. what difference does it make who pays for lunch? it s totally meaningless. thanks, george. here s your big salad to go. thank you. i remember i was editing an episode with larry and we took a break for dinner and he turned to the editor and he said, carol and i are going to get a bite, would you like something from the restaurant? yeah. bring me back a big salad. when we got back to the editing room, i took the salad and i gave it to janet. thank you, julie. you re very welcome.
break for dinner and he turned to the editor and he said, carol and i are going to get a bite, would you like something from the restaurant? yeah. bring me back a big salad. when we got back to the editing room, i took the salad and i gave it to janet. thank you, julie. you re very welcome. and two months later an episode is written called the big salad. she just took credit for my salad. that s not right. no, it isn t. i mean, i m the one that bought it. you did. don t you think she should have said something? oh, i know. i wonder where that came from, oh, right, me. perfect. lot of larry s humor is based on the difficulty of just being out in the world and everything is a land mine waiting for you to step on it. mind your own business, how about that? we all think that [ bleep ] but larry just points it out. you know, it s great. it s just material. i know, but really. look at these pants. i ve seen pants bunch up
and we began to get these terrible reports of the violence. it s a lot of smoke. i was in the editing room with all this videotape, and there was a videotape editor that i was very fond of. he was a fourth generation southerner, white guy, and he was a decent man, and he began to look at this stuff, and i d say, eddie, it cannot go on. well, i and he would, well, look, here. i d say, eddie, look again. i d make him roll the tape back. these are cops, they re beating these people, and they re beating them nearly to death. come on, eddie, and he looked again, he said, it s wrong. it s wrong, and he lowered his head. that was the power of television. it could bring it right to your home and to your heart. you could not deny what was going on. you couldn t excuse it in some way. by the mid-1960s, watching television had become a nightly ritual in most american households.