Transcript: Camilla Scott | Jan 02, 2000

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of Richard Ouzounian and a guest sitting at a restaurant table: “Camilla Scott. Actor.”

The place is profusely decorated with black and white portraits of men and women.

Then, Richard appears facing the screen. He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing rounded glasses, a blue suit, and a black t-shirt.

He says WELCOME TO DIALOGUE.
I'M RICHARD OUZOUNIAN.
IN THE MUSICAL THEATRE
BUSINESS, IF SOMEBODY CAN
SING, DANCE AND ACT, YOU
CALL THEM A TRIPLE THREAT.
WHAT DO YOU CALL THEM IF THEY
CAN ALSO STAR IN SOAP OPERAS,
SITCOMS, TALK SHOWS, AND EVERY
OTHER FORM OF ENTERTAINMENT
KNOWN TO MAN?
I THINK WE'RE
ABOUT TO FIND OUT.
BECAUSE THIS
DIALOGUE
IS WITH CAMILLA SCOTT.

Camilla is in her late thirties, with long wavy black hair tied back in a tight braid. She’s wearing a translucent tulle shirt over a white top, and a thin choker necklace.

Richard continues CAMILLA, I WAS THINKING ABOUT
THIS BEFORE WE SAT DOWN TODAY.
IS THERE ANYTHING IN SHOW
BUSINESS YOU HAVEN'T DONE?

Camilla says WELL, I PRETTY MUCH WOULD
JUGGLE AT CHILDREN'S BIRTHDAY
PARTIES IF I WERE UNEMPLOYED.
NO, I MEAN, I'VE ALWAYS
THOUGHT -- IT'S LIKE JUGGLING,
OR MY ONE EXPRESSION THAT
I USE IS I THROW AS MUCH
SPAGHETTI ON THE WALL
AS POSSIBLE AND HOPE
SOMETHING STICKS.
IT'S THE ONLY WAY, I THINK, IN
THIS INDUSTRY, TO CONTINUOUSLY
BE WORKING IS TO JUST HAVE AS
MANY SORT OF FLAGS OUT THERE
AS YOU CAN IMAGINE.
AND THERE'S ALWAYS
SOMETHING THAT'S NEEDED.
THAT'S WHY I KIND
OF DO IT ALL.
AND CONTINUE TO TRY
TO DO IT ALL, ANYWAY.

Richard says WHAT WAS CAMILLA SCOTT
THE LITTLE GIRL LIKE?
DID YOU WANT TO DO THIS
FROM THE VERY START?

Camilla says YEAH.
IT'S FUNNY BECAUSE A WHILE
AGO I DID AN INTERVIEW
WITH SOMEONE AND MY SISTER
WATCHED IT, AND SHE PHONED ME,
AND SHE SAID, I FORGOT
YOU USED TO DO THAT.
WHEN I WAS YOUNG, I USED TO
GET ALL THE KIDS ON THE STREET
IN THE NEIGHBOURHOOD, AND I'D
PUT PLAYS TOGETHER WITH THEM,
AND I'D LINE UP ALL THE LAWN
CHAIRS IN THE BACKYARD AND
INVITE ALL THE PARENTS.
AND I HAD ACTUALLY EVEN
FORGOTTEN THAT I'D DONE IT.
AND I WAS JUST CHATTING WITH
SOMEONE ONE DAY, AND I WENT,
OH, GOD, YEAH, I USED TO...
BUT I GUESS I'VE DONE IT FOR
AS LONG AS I CAN REMEMBER.
IN VERY YOUNG GRADE SCHOOL,
BEING IN THE CHOIR, THEN AS I
GOT INTO MIDDLE SCHOOL, THE
ORCHESTRA, AND THE BAND
AND, YOU KNOW,
THE DRAMA CLUB.
JUST, YEAH.
I CAN'T REMEMBER A TIME
WHEN I WASN'T DOING IT.

Richard says IT'S INTERESTING YOU SAID THE
ORCHESTRA BECAUSE SOMEBODY
WHO PLAYED IN THE PIT BAND
FOR
CRAZY FOR YOU
SAID, THE
ONE TERRIBLE THING ABOUT
HAVING CAMILLA SCOTT IN THE
SHOW IS IF YOU HIT A
WRONG NOTE, SHE KNOWS IT.

Camilla says BUT THAT HAS NOTHING TO DO
WITH THE FACT I WAS IN THE
ORCHESTRA, TRUST ME.
I PLAYED THE CELLO FOR FIVE
YEARS, AND I WAS PROBABLY THE
WORST CANDIDATE EVER,
I WAS SO AWFUL AT IT.
BUT I THINK, JUST FROM THE
SINGING AND KNOWLEDGE OF
MUSIC, MY EAR IS VERY GOOD.
BUT IT'S CERTAINLY NOT FROM
BEING IN THE ORCHESTRA.

Richard says WHEN DID YOU START TO GET
INTO THE DOING THE TRIPLE
THREAT NUMBER, THE, HEY,
I'M THE SINGING, DANCING,
ACTING SENSATION?

Camilla says WELL, I'D ALWAYS BEEN ABLE
TO KIND OF MOVE ALL RIGHT.
I THINK, JUST NATURALLY.
AND WHEN I AUDITIONED FOR
CRAZY FOR YOU
WAS WHEN IT
REALLY GOT SERIOUS.
I ACTUALLY AUDITIONED FOR THE
ROLE OF IRENE, WHICH IS THE
ONLY NON-DANCING ROLE IN THE
WHOLE SHOW BECAUSE THE ACTUAL
BREAKDOWN SAID, POLLY MUST BE
A DANCER, NOT A SINGER WHO
MOVES WELL.
BUT WHEN I
AUDITIONED, MIKE OCKRENT,
THE DIRECTOR SAID, WELL,
YOU'RE NOT IRENE, YOU'RE POLLY.
AND THAT'S IT.
AND SUSAN STROMAN WAS
LIKE, NO, SHE ISN'T,
SHE CAN'T DANCE.
AND THEY ACTUALLY HAD ME STAY
AT THE AUDITION THE FIRST DAY
FOR TWO HOURS, AND THEY WORKED
ME AND WORKED ME, AND WORKED,
AND SUSAN WAS JUST LIKE,
THERE'S JUST NO WAY, WE CANNOT
TEACH THIS GIRL TO
DANCE IN TWO HOURS.
THEN THEY CALLED ME AT HOME
THAT NIGHT, AND SAID, LOOK,
THEY WANT YOU TO COME BACK
AGAIN TOMORROW MORNING
AND TRY AGAIN.
AND GOD BLESS THEM, THEY DID
SORT OF GIVE ME THE CHANCE,
BUT IT JUST WASN'T
GOING TO HAPPEN.
AND I SAID TO THEM THEN, YOU
KNOW, THE SHOW ISN'T STARTING --
IT WAS LIKE SEVEN MONTHS
IN ADVANCE THAT THEY
STARTED AUDITIONING.
I SAID, I'LL LEARN.
I'LL LEARN TO DANCE.
AND THEY WERE LIKE,
YEAH, SURE YOU WILL.
AND STEPHANIE GORHAM, WHO
WAS CASTING IT, SAID LATER,
SHE WILL, IF YOU
OFFER HER THE PART.
SHE WILL.
SO THEY DIDN'T
OFFER ME THE PART.
WHAT THEY SAID WAS, MY AGENT
CALLED ME ABOUT TWO WEEKS LATER.
I WAS LIVING IN
LOS ANGELES THEN.
HE SAID, THEY WANT TO SET
UP A DANCE PROGRAM FOR YOU.
AND THEY WILL PUT YOU ON HOLD.
AND IF YOU GET THE JOB, THEY
WILL PAY FOR THE CLASSES,
AND IF YOU DON'T GET
THE JOB, THEY WON'T.
AND I WENT, HMM...
OKAY, I CAN DO THAT.
AND I TOOK 17 DANCE
CLASSES A WEEK.
THREE A DAY, MONDAY TO
FRIDAY, TWO SATURDAY,
AND SUNDAY'S OFF.
AND I LEARNED TO BE A DANCER.

Richard says ALSO, KNOWING CAMILLA SCOTT'S
REPUTATION FOR ECONOMY,
I'M SURE THAT DROVE
YOU TO BE GOOD.
DAMMIT, I'M NOT GOING TO
PAY FOR THESE LESSONS.
I'M GOING TO BE SO GOOD
THEY'LL HAVE TO CAST ME.

Camilla laughs and says EXACTLY.
I KNEW IF I COULD GET THAT
PART, IT WAS GOING TO
CHANGE MY LIFE.
AND IT DID.

Richard says I WANT TO ROLL
BACK BEFORE THAT.
YOU WERE DOING A LOT OF
MUSICALS IN TORONTO WHERE YOU
WERE THE SINGING STAR, WHEN
YOU DID
EVITA
AND THINGS
LIKE THAT.
BUT WHAT WAS YOUR ACTUAL
BREAKTHROUGH MOMENT WHEN YOU
GOT TO, YOU WENT FROM BEING
THE KID WHO WANTED TO DO IT,
TO THE GIRL WHO WAS ACTUALLY
DOING IT WELL PROFESSIONALLY
IN GOOD LEADING ROLES?

A caption appears on screen. It reads “Camilla Scott. Actor.”

Camilla says I THINK IT WAS
CRAZY FOR YOU.
I THINK I'M STILL
DOING THAT.
I'M STILL LEARNING.
I THINK EVERY SINGLE JOB YOU
BECOME BETTER AND BETTER
AND BETTER.
HOPEFULLY.
I MEAN, YOU KNOW, YOU TRY
TO SORT OF LEARN FROM YOUR
MISTAKES, AND CONTINUE -- I
TAKE CLASSES STILL, ALL THE
TIME, AND CONTINUE TO BE
BETTER AND BETTER AND BETTER,
HOPEFULLY.
AND I THINK, WHEN I WAS DOING
THOSE --
EVITA
WAS REALLY THE
FIRST LEADING LADY
ROLE THAT I HAD.
AND THAT WAS ONE OF MY
FAVOURITE ROLES TO PLAY, AND
STILL IS, AND I WOULD LOVE
TO PLAY IT AGAIN, NOW THAT I
THINK I'VE ACTUALLY GOT A
BIT OF BACKGROUND TO ME.
I WAS SO GREEN THEN.
BUT IT WAS A GOOD THING
FOR THEM ME TO DO THEN.
AND IT WAS DIFFERENT THAN
ANYTHING I'D EVER DONE BECAUSE
I COULD ACTUALLY GO TO THE
LIBRARY AND READ BOOKS, AND
STUDY THE ROLE, AND REALLY
SORT OF GET INTO IT.
AND I DON'T EVEN THINK I
KNEW THEN WHAT I WAS DOING.
I WAS JUST SO
INTERESTED IN HER.
AND IT WAS MORE JUST FROM AN
INTEREST IN THE WOMAN AND THE
ROLE, THAT IT ACTUALLY BECAME
SOMETHING THAT WAS A GOOD
LEARNING EXPERIENCE.
BUT FROM THEN TO NOW, I'VE
ACTUALLY LEARNED GOING TO THE
LIBRARY AND RESEARCHING THESE
PARTS IS ACTUALLY JUST PART
OF THE DEAL.
I MEAN, THAT'S
SOMETHING THAT YOU DO.
YOU FIND A CHARACTER AND YOU
CREATE IT FROM THE GROUND UP.
AND I DIDN'T KNOW THAT THEN,
AND IT WAS ALL BY ACCIDENT.
SO I THINK THE FIRST TIME I
REALLY FIGURED ALL THAT OUT
AND WAS PLAYING IN THE BIG
LEAGUES WAS
CRAZY FOR YOU.

Richard says BUT BY THE TIME YOU'D DONE
CRAZY FOR YOU,
YOU HAD BEEN
STARRING IN A SOAP
IN L.A. FOR YEARS.

Camilla says YEAH, BUT YOU KNOW WHAT, I
LOOK BACK ON THAT NOW, I GOT
THAT SOAP, AND I WAS TAKING
ALL THESE FABULOUS ACTING
CLASSES IN LOS ANGELES, AND
WITHIN A MONTH OF BEING ON THE
SOAP I STOPPED TAKING THEM ALL
BECAUSE I THOUGHT, YOU KNOW,
THIS IS GREAT, I'M
WORKING, AND I DON'T THINK
I GREW AFTER THAT.
I THINK THAT I'VE LEARNED,
SINCE THEN, THAT THAT IS ALL
PART OF THE PROCESS, AND THAT
NEVER STOPS, THAT SORT OF
LEARNING THING.
AND I LEARNED THAT FROM THAT
EXPERIENCE, AS OPPOSED TO NOW,
IF I THINK I WERE ON IT, I
WOULD NEVER TAKE A SINGLE DAY
FOR GRANTED.
WHICH IS WHAT YOU DO WHEN
YOU'RE YOUNG, BECAUSE YOU
THINK, OH, ALL
RIGHT I FABULOUS.

Richard says I CAN DO ANYTHING.

Camilla says YEAH.

Richard says YOU HEAR STORIES ABOUT
WORKING ON A DAILY SOAP IS
DRUDGERY MORE THAN
ANYTHING ELSE.
IS THAT TRUE?

Camilla says IT'S VERY HARD, AND IT'S VERY
STRESSFUL FROM A BEING FIRED
POINT OF VIEW.
I DON'T KNOW EXACTLY HOW
TO SAY IT OTHER THAN THAT.
EVERYBODY IS ON THESE WEIRD
CONTRACTS WHERE THEY HAVE AN
OPTION ALWAYS TO LET YOU GO
WHENEVER THEY WANT, BASICALLY,
AND YOU DON'T.
AND IT CREATES A VERY ODD
ATMOSPHERE AMONGST THE CAST
BECAUSE EVERYBODY
GETS VERY NERVOUS.
ESPECIALLY WHEN I WAS ON
DAYS
OF OUR LIVES
BECAUSE THEY
WERE GOING THROUGH SUCH
A CHANGE ON THE SHOW.
IN THE TWO YEARS I WAS ON THE
SHOW, THEY HAD TO HAVE GONE
THROUGH AT LEAST 15 MAJOR
CHARACTERS, AND PROBABLY
15 MINOR ONES, WHILE I WAS
THERE, WHICH WAS RIDICULOUSLY
UNHEARD OF.
BUT WHAT IT DOES IS IT CREATES
THIS HORRIBLE TENSION AMONGST
YOU WHERE EVERYBODY'S
NEUROTIC.
YOU HEAR OUT OF THE...
Ms. SCOTT, CAN YOU PLEASE
SEE AL RAVEN IN HIS --
AND IT'S LIKE, OH, BYE.

Richard says WHAT HAPPENS WHEN YOU START
TO GET NEXT WEEK'S SCRIPT, AND
SUDDENLY YOU HAVE FEWER LINES,
OR YOU FIND YOUR CHARACTER'S
GOTTEN A COUGH, OR THINGS LIKE
THAT, DO YOU START TO WORRY?

Camilla says YOU DO, ALL THE TIME.
IT'S A TOTALLY NEUROTIC
BUSINESS FOR SOMEONE WHO'S
YOUNG AND DOESN'T REALLY KNOW
WHAT'S GOING ON, OR THAT
THERE'S ANOTHER JOB
OUT THERE AFTER THAT.
BUT I THINK NOW -- WHAT
HAPPENS WITH THAT NEUROSIS,
THE WORK BECOMES ABOUT THE
NEUROSIS, AS OPPOSED TO JUST
BEING THERE AND BEING GOOD
AND WORKING HARD, AND JUST
RELAXING WITH IT, AND KNOWING
THAT, WELL, YOU KNOW,
WHATEVER'S GONNA HAPPEN, IS
GONNA HAPPEN, AND I CAN'T DO
ANYTHING ABOUT IT.
IT DOESN'T MATTER.
YOU START THINKING,
WELL, IF I'M GOOD,
THAT WON'T HAPPEN TO ME.
SOMEBODY WHO YOU REALLY ADMIRE
ON THE SHOW GETS CANNED,
AND YOU'RE LIKE, OH, IT'S NOT
'COS IF I'M GOOD, YOU KNOW?
I THINK IT'S A TERRIBLY
UNHEALTHY ATMOSPHERE TO WORK IN.
BUT THERE ARE SOAPS -- I'M
SORRY, I'M CHATTY, CHAT, CHAT,
BUT THERE ARE SOAPS
THAT AREN'T LIKE THAT.
IF YOU WATCH
THE YOUNG AND
THE RESTLESS,
I HAVE FRIENDS
ON THAT, WHO HAVE
BEEN ON IT FOREVER.
I MEAN, THE CAST CHANGES ON THAT
ARE VERY FEW AND FAR BETWEEN.
AND THEN I THINK IT'S A MUCH
HEALTHIER ATMOSPHERE WHERE
PEOPLE ARE JUST THERE BECAUSE
THEY LOVE THE WORK, AND THEY
WANT TO WORK HARD, AND
THEY WANT TO BE GOOD.

Richard says WHAT ABOUT LOS ANGELES?
WHAT WAS THAT LIKE FOR YOU?

Camilla says WELL, I ACTUALLY LOVED
LOS ANGELES WHEN I FIRST
MOVED THERE.
I THOUGHT, THIS IS THE
GREATEST TOWN EVER.
IT DOESN'T SNOW.
IT'S NEVER COLD.
IT'S ALWAYS GORGEOUS.
THERE'S A BEACH RIGHT THERE,
AND FABULOUS RESTAURANTS
AND SHOPPING, AND THAT
I LOVED ABOUT IT.
AND THAT LASTED FOR QUITE
A WHILE, ACTUALLY,
PROBABLY ABOUT FIVE YEARS.
THEN THE LAST YEAR I WAS THERE
THE RIOTS HAPPENED, WHICH WAS
A TERRIFYING EXPERIENCE.
I COULDN'T WAIT TO GET OUT.
AND COULDN'T GET OUT.
WE COULDN'T LEAVE OUR
APARTMENTS AFTER 6 O'CLOCK
AT NIGHT BECAUSE EVERYBODY
WAS CURFEWED AND THE STREETS
WERE DESERTED.
IT WAS VERY ODD.
AND YOU'D SEE TANKS GOING BY
WITH FATIGUED ARMY SOLDIERS
IN THE BACK.
JUST THINGS WE DON'T
THINK OF IN OUR SOCIETY.
AND THEN WE HAD THESE HORRIBLE
FIRES AND FLOODS, AND WHAT
ELSE HAPPENED, TWO BIG
EARTHQUAKES, AND I WAS MUGGED.
AND IT ALL HAPPENED
WITHIN THREE MONTHS.
AND I THOUGHT,
OKAY, YOU KNOW WHAT?
I'M OUT OF HERE.

Richard says YOU'VE ANSWERED THE QUESTION
BECAUSE YOU'VE STAYED, I
MEAN, I'M SURE IF YOU GOT
OFFERED A TERRIFIC JOB THERE,
YOU'D BE THERE TOMORROW.

Camilla says YOU KNOW, I STILL HAVE
AN APARTMENT THERE.

Richard says BUT YOU'VE SOUGHT WORK IN
CANADA MORE AND WORKED AT THAT.

Camilla says I HAVEN'T ACTUALLY
SOUGHT WORK.
IT'S FUNNY.
BECAUSE WHAT HAPPENED WAS I
AUDITIONED FOR
CRAZY FOR YOU
IN LOS ANGELES AND
CAME BACK HERE TO DO IT.
AND I DID IT FOR TWO YEARS,
AND THE LAST LIKE TWO WEEKS
OF MY CONTRACT WITH THE
MIRVISHES, I AUDITIONED FOR
DUE SOUTH, AND I DID A BIT OF
PUBLICITY ON
THE DINI PETTY
SHOW
FOR
CRAZY FOR
YOU, AND GOT OFFERED
THE TALK SHOW.
SO BOTH THINGS CAME TO ME
WITHIN LESS THAN A MONTH OF MY
CONTRACT ENDING FOR
CRAZY FOR
YOU,
AND THEY BOTH WANTED
ME, AND THEY BOTH WORKED
AROUND EACH OTHER TO HAVE ME.
WHICH NEVER HAPPENS.
GOD, SOMEBODY WAS
LOOKING OVER MY SHOULDER.
SO I STAYED BECAUSE OF THAT.
I'VE ACTUALLY ALWAYS FELT LIKE
I HAD ONE FOOT OUT THE DOOR,
ALMOST, BECAUSE I'VE ALWAYS
ASSUMED I'LL JUST GO BACK
THERE, OR GO TO NEW
YORK, AND I WILL.
I MEAN, I KEEP THINKING, WITH
PAJAMA GAME, THE NEXT STEP,
I'M GOING TO GO TO LONDON,
THEN OF COURSE,
JAKE AND JILL
HAPPENED SO
I'M NOT GONNA GO.
SO THEN IN NOVEMBER,
I'M GOING TO NEW YORK.
IT'S -- AS LONG AS I GUESS
FABULOUS JOBS COME TO ME,
I WILL NOT GO.
BUT I WOULD LIKE TO GO.
I WOULD LIKE TO GO TO NEW
YORK, AND I WOULD LIKE
TO WORK ON BROADWAY.
AND I FEEL LIKE THAT'S
WHAT'S NEXT FOR ME.

Richard says YOU'VE RAISED A LOT OF THE
THREADS THAT YOU'VE HAD IN
THE PAST YEARS
AND ARE COMING UP.
LET ME SEPARATE THEM
AND GO WITH THEM.
THE CAMILLA SCOTT SHOW.

Camilla says YES.

Richard says FIRST OF ALL, WHEN YOU HAD
YOUR FANTASIES ABOUT BEING A
MUSICAL THEATRE STAR, DID YOU
EVER HAVE FANTASIES ABOUT
BEING A TALK SHOW HOST?

Camilla says NEVER.
BUT OF COURSE I LIED
WHEN THEY ASKED ME.
[laughing]
'COS I'M AN ACTOR.
YES, I CAN DO ANYTHING.
I'LL FLY?
SURE.
BUT THEY CALLED ME AT HOME
THE DAY AFTER I DID THE
DINI SHOW, AND THEY SAID, YOU
WERE WONDERFUL ON THE SHOW.
AND IT WAS RICHARD
SIMMONS WHO I WAS ON WITH.
YOU STOLE THE
SHOW FROM RICHARD.
AND I THOUGHT, OH, I THOUGHT
I WAS GETTING IN TROUBLE
FOR SOMETHING.
I SAID, I'M SORRY -- THEY
SAID, NO, HE WAS REALLY
INTERESTED IN WHAT
YOU HAD TO SAY.
AND THAT NEVER HAPPENS
WITH RICHARD SIMMONS.
AND WE THINK, WE HAVE THIS
SHOW WE'VE BEEN THINKING ABOUT
DOING, AND WE THINK
YOU'D BE A GREAT HOST.
AND HAVE YOU EVER THOUGHT
ABOUT DOING SOMETHING LIKE THAT?
AND I WAS LIKE, OH,
YES, ABSOLUTELY.
I HAD NO IDEA
WHAT I WAS IN FOR.
I THEN CHATTED MORE WITH THEM,
AND WE DECIDED TO SHOOT A
PILOT TO SEE, A, IF I COULD DO
IT, AND B, IF I WANTED TO DO IT.
AND WE HAD A BLAST DOING IT.
AND I THOUGHT,
WELL, THIS IS GREAT.
AND I JUST THOUGHT, I NEVER
THOUGHT IT WOULD BECOME AS BIG
A DEAL AS IT DID.
IT JUST SORT OF BECAME
ENORMOUS VERY QUICKLY.
BUT IT WAS A GREAT LEARNING
EXPERIENCE FOR ME, AND I MEAN,
NOT SOMETHING I DON'T KNOW
THAT I WOULD DO AGAIN, NOT
THAT I EVER SAY NEVER, BUT
THERE'S NO SORT OF AFTER THE
SHOW GOING, OH, WOW,
THAT WAS GREAT TONIGHT.
IT'S MORE LIKE A JOB.

Richard says RIGHT.
HOW MUCH CONTROL DID YOU HAVE
ABOUT WHAT YOU WERE GOING TO
TALK ABOUT, WHO YOU TALKED
TO, TOPICS, GUESTS,
THINGS LIKE THAT?

Camilla says NOT AS MUCH AS I
WOULD HAVE LIKED TO.
BUT CERTAINLY, I NEVER DID
ANYTHING I DIDN'T WANT TO DO.
AND THAT WAS KIND
OF IMPORTANT TO ME.
IT WAS MY NAME.
IT DIDN'T MATTER WHO WAS
PRODUCING THE SHOW, IF
SOMETHING WAS GOING TO GET
ATTACKED, IT WAS GOING TO BE ME.
EVEN IF THEY ARE TALKING ABOUT
CAMILLA SCOTT THE SHOW,
IT'S ME.

Richard says IT'S CALLED
THE
CAMILLA SCOTT SHOW.
IT'S RIGHT UP THERE.

Camilla says SO I NEVER DID ANYTHING
I DIDN'T WANT TO DO.
BUT I WOULD HAVE LIKED
TO HAVE HAD MORE INPUT.

Richard says WHEN IT FIRST WENT ON THE
AIR, NOT TO DREDGE UP BAD
MEMORIES, BUT YOU DID KIND OF
GET SAVAGED A LOT IN THE PRESS.

Camilla says OH, ABSOLUTELY.
AND I EXPECTED TO.

Richard says YOU DID?

Camilla says THE SHOW CAME OUT AT A TIME
WHERE TALK SHOWS WERE REALLY
GETTING THE DIRT.
THEY WERE JUST BEING
LAMBASTED ALL OVER THE PLACE.
SO WE DIDN'T EXPECT ANYBODY TO
GO, OH, GOOD, ANOTHER CHAT SHOW.
AND I DIDN'T CARE.
I KNEW THEY WERE GOING TO SAY,
OH, FOR GOD'S SAKES, LIKE WE
NEED THIS HERE IN CANADA.
BUT THEY'RE NOT THE PEOPLE
WHO ARE WATCHING IT.
AND THE CRITICS WHO -- PEOPLE
WOULD SAY, OH, TRASH, RICKI
LAKE, BLAH, BLAH, BLAH, WELL,
THEY'RE NOT WATCHING THE SHOW
BECAUSE IF THEY WERE,
THEY'D KNOW IT WASN'T.
AND THE SHOW WASN'T.
IT WASN'T TRASH.
IT WAS NOT JERRY SPRINGER OR
RICKI LAKE OR JENNY JONES.
WE DID NOT DO ANYTHING
TO HURT ANYBODY EVER.
IN FACT, THERE WERE A COUPLE
OF TIMES, ONE TIME, SOME GIRL
CAME ON THE SHOW, AND LIED
ABOUT HER AGE, AND HAD FALSE
ID, AND WE NEVER AIRED THE
SHOW BECAUSE AFTERWARDS WE
FOUND OUT SHE WAS ONLY 15.
AND THEN ANOTHER TIME, A GIRL
WHO WAS OF AGE, AND DID SIGN
EVERYTHING, CAME BACK AND
SAID, OH, I DON'T WANT IT TO
AIR, AND HAD HER PSYCHIATRIST
CALL AND SAY IT WOULDN'T
BE A GOOD IDEA, AND FINE.

Richard says AND YOU RESPECTED THAT.

Camilla says ABSOLUTELY.
AND IT'S THOUSANDS AND
THOUSANDS AND THOUSANDS OF
DOLLARS BECAUSE
YOU LOSE A SHOW.
SO THAT KIND OF STUFF WAS
ALWAYS, IT WAS RIGHT OUT
THERE, AND WE NEVER -- IT
WAS NEVER ABOUT -- THAT WAS
IMPORTANT TO ME, TOO.
AND I WOULD SAY TO PEOPLE
ALWAYS ON THE SHOW BECAUSE
PEOPLE TALK BEFOREHAND, OH,
THEY HAVE LOTS TO SAY, AND
THEN THEY GET OUT THERE, AND
I WOULD ALWAYS SAY, IF YOU
DON'T WANT TO TALK ABOUT
IT, YOU DON'T HAVE TO.
YOU HAVE TO GO HOME AFTER
THIS, YOU KNOW, TO YOUR MESS.
I DON'T.
SO PEOPLE WERE FREE TO DO
WHAT THEY WANTED, AND NOT
PRESSURED, EVER,
I DON'T THINK.

Richard says WHAT ABOUT THE RELATIONSHIP
WITH THE YOUNGER
AUDIENCE MEMBERS?
DID YOU EVER KIND OF THINK YOU
WERE GOING TO BE GURU, ROLE
MODEL PERSON FOR ALL THESE
TEENAGERS IN PARTICULAR?

Camilla says WELL, IT'S SO FUNNY BECAUSE
IN THE BEGINNING, I THOUGHT,
WELL, YOU KNOW, I
SAID TO IVAN FECAN,
I REMEMBER HAVING A MEETING
WITH HIM AND SAYING, WELL, YOU
KNOW WHAT, THINGS LIKE HAIR
AND WARDROBE, THAT KIND OF
STUFF IS GOING TO
BE REALLY IMPORTANT.
AND WE SHOULD TRY TO HAVE A
FRIENDS' LOOK BECAUSE THAT'S
REALLY BIG RIGHT NOW.
SO I WAS THINKING MORE IN
TERMS OF WHAT KIDS LOOK AT
AND WANT.
I NEVER THOUGHT REALLY ABOUT
THE ACTUAL CONTENT OF THE SHOW.
IT WAS MORE IMPORTANT TO ME
THAT THEY SORT OF LOOKED AT ME
AND WENT, SHE'S COOL.
THEN ONCE WE STARTED TO DO IT,
I REALIZED THERE WAS A LOT
MORE AT STAKE HERE, AND KIDS
WERE LOOKING TO ME FOR MORE
THAN JUST THAT.
AND I DID NOT EXPECT THAT.
BUT I HAVE YOUNGER SISTERS,
AND THAT SORT OF MADE ME -- I
WAS READY FOR THAT
KIND OF THING.
AND I SORT OF TAKE THAT ROLE
IN MY FAMILY NATURALLY.
SO I THINK THAT SORT OF
HAPPENED NATURALLY WITH THE
SHOW, WHERE I SORT OF TOOK
THE ROLE OF EVERYBODY'S
BIG SISTER.

Richard says NOW, EVEN THOUGH YOU HAVE
SISTERS WHO ARE OF THE AGE A
LOT OF YOUR AUDIENCE WERE,
DID YOU FIND WHERE, LET'S SAY
GIRLS WERE AT THAT AGE, VASTLY
DIFFERENT FROM WHERE YOU WERE
AT THAT AGE?

Camilla says UM, YES AND NO.
WE ALL SORT OF DEAL
WITH THE SAME STUFF.
EVEN MY MOTHER, AND
HER MOTHER, THE SAME SORT
OF ISSUE-TYPE THINGS.
BUT I THINK IT'S
HARDER NOW FOR KIDS.
I THINK.
I CERTAINLY WOULDN'T WANT
TO BE A TEENAGER NOW.

Richard says HOW COME?
WHAT'S THE PROBLEMS?

Camilla says JUST, IT SEEMS MORE
COMPLICATED TO ME SOMEHOW.
IT SEEMS THERE'S
NOT AS MANY JOBS.
AND YOU DO HAVE TO
HAVE A GREAT EDUCATION.
YOU CAN'T JUST GET BY ANYMORE
ON A HIGH SCHOOL OR NOT EVEN.
ALL THE SEX AND DISEASES.
IT JUST SEEMS MORE
COMPLICATED TO ME.

Richard says WORKING ON AN EDUCATIONAL
PROJECT AT TVO, AND THE FIGURE
CAME OUT THAT 30 PERCENT
OF 14-YEAR-OLD TEENAGERS HAD
HAD INTERCOURSE.
AND I SEEMED TO THINK, WHEN
I WAS 14, I DON'T THINK
IT WAS 30 PERCENT.

Camilla says NO, I DON'T THINK I
EVEN KNEW WHAT THAT WAS.
I MEAN, AND IF I DID, WE
DIDN'T GO ANYWHERE NEAR IT.
IT WAS A BIG DEAL TO HAVE A
CIGARETTE IN THE BATHROOM
WHEN YOU WERE 16.
SO I JUST THINK THE STAKES
ARE SO MUCH HIGHER, AND MORE
DANGEROUS.
JUST SEEMS MORE
DANGEROUS TO ME.
AND THINGS ARE MORE EXPENSIVE.
YOU STILL MAKE MINIMUM
WAGE WORKING AT MCDONALD'S,
BUT IT COSTS MORE.
I THINK THE RATIO IS
SO MUCH DIFFERENT.
I DON'T KNOW, WHEN I WAS
A KID, WE JUST HAD FUN,
AND IT JUST SEEMS FAR
MORE COMPLICATED.

Richard says DID YOU HAVE AUDIENCE MEMBER
GROUPIES WHO KEPT COMING
BACK AND BACK?

Camilla says YEAH.

Richard says WHAT DID YOU CALL THEM?
CAMILLAITES, OR SCOTTIES?

Camilla says JUST GROUPIES.
THEY WERE LOVELY, ACTUALLY.
YOU KNOW WHAT WE
HAD EVERYBODY.
WE HAD SOME OLD GUY,
WHAT WAS HIS NAME NOW?
I'M SO EMBARRASSED,
I CAN'T REMEMBER.
HE WAS LIKE 85, CAME ALL THE
TIME, AND HE'D COME AND SIT.
I ALWAYS WENT TO HIM BECAUSE
HE ALWAYS HAD SOME FABULOUS
COMMENT TO MAKE.
THEN WE HAD YOUNG, YOUNG
KIDS WHO CAME ALL THE TIME.
SOME GIRLS WOULD BRING THEIR
MOTHERS OR GRANDMOTHERS.
WE HAD A REAL SORT OF
RANGE IN THAT AUDIENCE.
ALTHOUGH IT LOOKED VERY YOUNG.

Richard says IT DID.
EVERY TIME I'D FLIP BY, IT
LOOKED YOUNGER, RATHER THAN --

Camilla says THEY PUSHED THAT BECAUSE THEY
WANTED A VERY YOUNG AUDIENCE.
BUT WE REALLY DID HAVE
QUITE A RANGE TO IT,
WHICH WAS WONDERFUL.
WE ACTUALLY WON THE TIME SLOT
EVERY DAY FOR WOMEN 35 TO 50,
OR SOMETHING LIKE THAT.
WHICH YOU NEVER SAW THAT IN
THE AUDIENCE, BUT THEY WERE
WATCHING AT HOME.

Richard says NOW, WHY DID IT FINALLY STOP?
WAS IT JUST A TRAIN YOU
THOUGHT IT WAS TIME TO GET OFF?

Camilla says WELL, I THINK IT WAS MORE
THEY DIDN'T WANT TO DO THE
SHOW ANYMORE.
I THINK IT WAS BUDGET, THAT
THE SHOW WAS VERY EXPENSIVE TO
DO, AND I DON'T THINK THEY
WANTED TO KEEP PUTTING THAT
KIND OF MONEY INTO IT.
THEY KNEW HOW I FELT ABOUT IT.
I MEAN, IF I WERE GOING TO
CONTINUE, WHICH I DON'T
THINK I WAS, I WAS GOING
TO WANT A LOT OF MONEY.
[laughing]
AND I JUST THINK -- I'D BEEN
OFFERED, AT THAT POINT, A
DEVELOPMENT DEAL IN NEW YORK
FOR A TALK SHOW FOR PEARSON
ENTERTAINMENT, AND I KNEW THAT
I WAS GOING TO GO TO THAT NEXT.
AND I DON'T KNOW
HOW MUCH THEY KNEW.
BUT IT WAS JUST SOMETHING
THAT WAS NEVER RAISED.
IT WAS SORT OF ENDED, AND
IT WAS GONE AND GOOD-BYE.

Richard says NOW, BEFORE WE GET INTO THE
SITCOM CAMILLA, WHICH IS THE
NEXT ONE, CAMILLA THE
INDEPENDENT PRODUCER.
THIS PREVIOUS SPRING IN
TORONTO, YOU MOUNTED VERY
SERIOUS PLAY THAT YOU BELIEVED
IN DEEPLY AND PUT ON.
FIRST OF ALL, WHY DID YOU WANT
TO PUT YOURSELF AT THAT KIND
OF ARTISTIC, EMOTIONAL,
AND FINANCIAL RISK?

Camilla says WELL, HMM...
MY PARTNER, PAUL EVES AND I,
SAW THIS PLAY TWO YEARS AGO.
IT WAS BEING WORKSHOPPED.
FIRST OF ALL, WE ARE HUGE
FANS OF RICHARD GREENBERG,
THE PLAYWRIGHT.
AND WE'D SEEN A
LOT OF HIS WORK.
AND PAUL'S ACTUALLY DONE TWO
OF HIS PLAYS PREVIOUS TO THIS.
AND WE SAW IT BEING
WORKSHOPPED AT THE SOUTH
COAST REP AND LOVED IT.
I MEAN, JUST
ABSOLUTELY LOVED IT.
AND I JUST THOUGHT,
OH, GOD I'D GIVE ANYTHING
TO PLAY THAT ROLE.
THOSE TWO ROLES, ACTUALLY.
THERE'S A DIFFERENT CHARACTER
IN EACH ACT.
THEN WE SAW IT AGAIN ABOUT
A YEAR AGO OFF BROADWAY,
AND IT STILL HAD
THE SAME EFFECT.
AND I THOUGHT, I'M NEVER
GONNA PLAY THAT ROLE
UNLESS I DO IT MYSELF.
AND PAUL AND I TALKED ABOUT
IT, AND HE ACTUALLY DID MOST
OF THE GRUNT WORK IN TERMS
OF PRODUCING IT BECAUSE HE'S
VERY GOOD AT THAT, AND HE
KNOWS WHAT HE'S DOING.
WE HAVE A PRODUCTION
COMPANY TOGETHER.
SO WE JUST THOUGHT, YOU KNOW
WHAT, THE ONLY WAY WE ARE
GOING TO DO THIS PLAY IS
IF WE DO IT OURSELVES.
AND WE SPOKE TO CANADIAN
STAGE, AND THEY WERE
FANTASTIC, AND GAVE US ALL
KINDS OF SUPPORT, AND WE DID IT.
AND IT WAS, THAT TO ME, WAS
PROBABLY ONE OF THE GREATEST
LEARNING EXPERIENCES
OF MY CAREER, SO FAR.
WORKING WITH ROSEMARY
DUNSMORE DIRECTED IT, JUST
AS AN ACTRESS WORKING WITH
HER I LEARNED SO MUCH.
IT WAS JUST A
FANTASTIC EXPERIENCE.

Richard says NOW, AT THIS POINT IN YOUR
CAREER, WHAT CAN YOU LEARN
NEW FROM A DIRECTOR?
THAT'S INTERESTING TO HEAR.

Camilla says OH, GOD.
ALL KINDS OF STUFF.
I GREW AS AN ACTRESS MORE IN
THAT SIX WEEKS THAN I PROBABLY
HAVE IN THE LAST SIX YEARS.
IT WAS AN INCREDIBLE
LEARNING EXPERIENCE.
AND IT GOT ME READY TO WORK
WITH SOMEBODY LIKE SIMON CALLOW,
WHO I WOULD PROBABLY
HAVE BEEN INTIMIDATED
HORRENDOUSLY BY WITHOUT IT.
I MEAN, I REALLY
FELT READY FOR IT.
I FELT, YEAH, OKAY, NOW
I'VE GOT ALL THIS WITH ME.
AND IT WAS FANTASTIC.

Richard says WHAT ABOUT PUBLIC REACTION,
THINGS LIKE THAT?
HOW DID YOU FEEL ABOUT
THAT TO THE SHOW?

Camilla says TO THREE DAYS OF RAIN?

Richard says YEAH, THREE DAYS OF RAIN.

Camilla says SOME PEOPLE LOVED IT.
CRITICALLY,
THE STAR
LOVED
IT, AND THE REST OF THE PAPERS
DIDN'T REALLY LIKE IT.
I DIDN'T REALLY CARE.
I MEAN, WHEN YOU DO
A LABOUR OF LOVE LIKE THAT,
IT'S ABOUT THE PROJECT.
AND THE AUDIENCE, EVERYBODY
WHO I SAW IT LOVED IT.
IT'S JUST SUCH A
FANTASTIC PLAY.
BUT IT'S A VERY CLEVER,
DIFFICULT PLAY.
IT'S NOT FOR EVERYBODY.
IT'S VERY WORDY.
IT'S VERY MAMET-ISH, YOU KNOW,
I MEAN, RICHARD GREENBERG
WRITES VERY
DIFFICULT DIALOGUE.
AND, YOU KNOW, WHEN I FIRST
GOT THE PLAY, I HAD TO SIT
WITH AN ENCYCLOPEDIA AND
DICTIONARY AND FIGURE OUT WHAT
I WAS TALKING ABOUT BECAUSE
IT'S THAT DIFFICULT, SO...
A LOT OF PEOPLE ARE GONNA GO,
WHO DO THEY THINK THEY ARE?
BUT I DIDN'T CARE.
IT WAS SUCH A GREAT PART.
AND I WILL DO THAT AGAIN.

Richard says WILL YOU PRODUCE AGAIN?

Camilla says ABSOLUTELY.
WE'RE LOOKING FOR THAT
NEXT FANTASTIC PLAY TO DO.
ONLY BECAUSE I JUST WANT TO
DO THE PLAY, AND I DON'T CARE
WHAT ANYBODY THINKS.
I'LL DO
PAJAMA GAME, MAKE
THE MONEY, SPEND IT DOING
THAT, YOU KNOW?

Richard says AS WE TALK NOW, YOU'RE
CONCLUDING A RUN IN
THE PAJAMA GAME, ANOTHER
BIG BROADWAY MUSICAL.
YOU PLAY ANOTHER BRASSY
GIRL, HEART OF GOLD,
ALL OF THAT STUFF.
BUT THIS IS VERY DIFFERENT
BECAUSE SIMON CALLOW,
A DIFFERENT LEAGUE OF
DIRECTOR, IN MANY WAYS,
IS RECREATING THE SHOW.
NOW, WHAT IS IT LIKE WHEN YOU
HEAR YOU ARE GOING TO HAVE
SIMON CALLOW DIRECTING IT?
BESIDES SCARY.

Camilla says WHEN I FIRST HEARD ABOUT
THE PROJECT AND SIMON'S NAME
ATTACHED TO IT, I
JUST WANTED TO GET IT.
I DIDN'T CARE.
I WAS LIKE, OH, MY GOD, SIMON
CALLOW, I HAVE TO GET THIS JOB.
AND IT WAS INTERESTING WORKING
WITH HIM BECAUSE HE'S A VERY
DIFFERENT KIND OF DIRECTOR.
HE'D SAID VERY LITTLE TO ME.
I MEAN, IT WAS JUST BASICALLY,
MORE, MORE BIGGER, MAKE HER
MORE, MORE SHE'S MORE, SHE'S
MORE, SHE'S MORE, I'LL LET
YOU KNOW WHEN IT'S TOO MUCH.
AND I WOULD GET, OH, OH, THAT
LINE IS JUST -- AND HE'D JUST
SAY -- I'D SAY, HE'S NOT
LISTENING TO ME, HE'S NOT
LISTENING TO ME -- THE
CHARACTERS, I MEAN.

Richard says RIGHT, RIGHT.

Camilla says AND HE'D SAY, WELL, IT'S
YOU THAT'S NOT LISTENING.
AND I'D GO, YEAH.
AND IT WOULD ALL MAKE
SENSE, ALL OF A SUDDEN.
AND IT HAPPENED LIKE THREE OR
FOUR TIMES WHERE I WOULD BE
COMPLETELY STUCK AND
FRUSTRATED, AND I WOULD SAY
SOMETHING TO HIM, AND HE
WOULD SAY ONE LITTLE THING,
AND I'D GO, OF COURSE.
AND IT WOULD SEEM SO STUPID
THAT I COULDN'T FIGURE
THAT OUT MYSELF.
BUT HE WAS WONDERFUL THAT WAY.
JUST LET ME REALLY TRY
TO DO IT ALL ON MY OWN.
AND WHEN I GOT
STUCK, UNSTUCK ME.

Richard says SO THERE'S GOOD STUFF ABOUT
WORKING WITH PEOPLE WHO DON'T
NORMALLY DO, THIS IS HOW
WE DO A MUSICAL ROUTINE?

Camilla says OH, ABSOLUTELY.
I HAVEN'T DONE THAT
MANY BIG MUSICALS.
I KNOW IT SOUNDS LIKE I HAVE,
BUT REALLY, MIKE AND SIMON --
MIKE OCKRENT AND SIMON CALLOW
ARE THE ONLY TWO DIRECTORS
I'VE WORKED WITH IN
TERMS OF BIG MUSICALS.
AND THEY ARE VERY DIFFERENT.
BUT VERY GOOD, BOTH.
I MEAN, FANTASTIC
TO WORK WITH.
LOVED IT.

Richard says SO HAVING HAD YOUR MUSICAL
FIX AGAIN FOR A WHILE,
YOU ARE ABOUT TO START
SITCOM LAND AGAIN.
BUT LET'S GO BACK BECAUSE WE
HAVEN'T TOUCHED ON THE FACT
YOU'VE ALSO BEEN, WHILE YOU
WERE DOING THIS TALK SHOW, AND
DOING EVERYTHING ELSE, YOU'VE
BEEN A FIXTURE ON ONE OF THE
MOST POPULAR SITCOMS ON
CANADA, AND A CULT FAVOURITE
IN NORTH AMERICA,
DUE SOUTH.

Camilla says YEAH.

Richard says DID YOU FEEL LIKE YOU WERE
ALWAYS KIND OF PARACHUTED
IN AND MOVED AROUND THERE?
YOU MUST HAVE HAD
A CRAZY SCHEDULE.

Camilla says WELL, ORIGINALLY WITH
DUE
SOUTH, I WAS ONLY SUPPOSED
TO DO SEVEN DAYS WORK.
ONE DAY PER EPISODE
FOR SEVEN EPISODES.
THAT WAS THE
ORIGINAL CONTRACT.
BUT THE CHARACTER RIGHT AWAY
CAUGHT ON, AND PEOPLE
REALLY LIKED IT.
AND THEY LIKED THE CHEMISTRY
BETWEEN PAUL AND I.
SO I STARTED WORKING
LIKE CRAZY VERY QUICKLY.
AND THAT BECAME A
BIT OF A JUGGLE.
IT WAS TOUGH.
NOT SO MUCH ON ME 'COS I WAS
HAVING A GREAT TIME, BUT I
THINK IT WAS DIFFICULT FOR THE
TWO SHOWS EVERY TIME I'D HAVE
TO LEAVE TO DO THE TALK SHOW,
IT WOULD COST
DUE SOUTH
MONEY,
AND THE TALK SHOW WAS
ALWAYS SCREAMING BECAUSE
I COULDN'T BE THERE TO DO THIS.
SO IT WAS HARD ON THEM.
BUT FOR ME, IT WAS
JUST INCREDIBLE.
I WAS HAVING THE
TIME OF MY LIFE.
THE NUMBER ONE DAYTIME SHOW IN
THE COUNTRY, AND THE NUMBER
ONE NIGHT TIME SHOW IN
THE COUNTRY, YOU KNOW?
IT WAS FANTASTIC.

Richard says AND WITH PAUL GROSS,
THERE YOU ARE WORKING WITH
SOMEBODY WHO PEOPLE ALL OVER
THE COUNTRY SIT THERE AND LOOK
AT THE TV SCREEN AND GO DROOL,
DROOL, DROOL, DROOL, WHEN
YOU WALK INTO A ROOM AND ACT
OPPOSITE A GUY LIKE THAT --

Camilla says YOU GO DROOL,
DROOL, DROOL, DROOL.

Richard says YOU DO?
I WAS GONNA ASK YOU
IF IT'S THE SAME THING.
IF YOU WORK AT SHOPSY'S,
DO YOU STILL FIND
CORNED BEEF ATTRACTIVE?

Camilla says NO, HE WAS WONDERFUL.
AND, YOU KNOW, HE'S GORGEOUS,
THERE'S NO SORT OF GETTING
AROUND IT, IS THERE?

Richard says AGAIN, WHAT'S FASCINATING
ABOUT PAUL, OTHER THAN THE
FACT HE'S A GOOD ACTOR,
AND A GOOD LOOKING GUY AND
EVERYTHING, HE ALSO, BY THE
END OF THE SERIES WAS THE
EXECUTIVE PRODUCER, WAS
WRITING MOST OF IT,
DIRECTED THE ODD EPISODE
AND EVERYTHING.
I MEAN, HOW DID YOU FEEL
WORKING WITH A GUY WHO HAD SO
MANY OF THE ACES IN ONE
HAND AND WAS HOLDING THEM?

Camilla says IT WAS MORE FUN BEFORE HE
STARTED TO DO ALL THAT BECAUSE
HE COULD PLAY MORE.
WE ALL SORT OF HAD A FANTASTIC
TIME THE FIRST YEAR.
YOU KNOW, HE JUST
GOT VERY BUSY.
HE WAS THE KING OF THE CASTLE
KIND OF THING, AND HE JUST
WORKED AND WORKED AND WORKED
AND WORKED AND WORKED,
AND DID WHAT WOULD HAVE
PROBABLY BEEN IMPOSSIBLE
FOR ANYBODY ELSE TO DO.

Richard says AND NOW, YOU'RE GOING TO
HAVE ANOTHER BUSY, BUSY GUY.
ALBERT SCHULTZ, WHO BESIDES
BEING THE ARTISTIC DIRECTOR OF
SOUL PEPPER THEATRE COMPANY,
YOU TWO ARE STARTING SHOOTING
A VERY DIFFERENT
SHOW, JACK AND JILL?

Camilla says JAKE AND JILL.

Richard says I THINK YOU SHOULD EXPLAIN
WHY IT'S GOING TO BE DIFFERENT.

Camilla says WELL, IT'S FIRST OF ALL SHOT
IN FRONT OF A LIVE AUDIENCE,
WHICH HASN'T BEEN DONE
HERE IN A VERY LONG TIME
SO THAT'S GOING
TO BE EXCITING.
AND IT'S ABOUT THIS SORT OF,
HE'S NEUROTIC, SHE'S NOT.
SHE'S VERY SORT OF DRY.

Richard says OF COURSE, NOT.
YOU'D NEVER BE NEUROTIC.

Camilla says NEVER, NEVER.
IT'S THIS COUPLE, HE'S THIS
KIND OF NEUROTIC GUY, AND
SHE'S THIS VERY SORT OF SOLID,
DRY, AND THE WHOLE SERIES
TAKES PLACE IN THEIR BEDROOM.

Richard says SO IT'S A WHOLE SERIES IN
A BEDROOM, YOU AND ALBERT.
WELL, YOU BETTER
GET ALONG WITH HIM.

Camilla says I LOVE ALBERT.
I THINK HE'S SO TALENTED
AND FUNNY AND NICE.
I CAN'T WAIT.
IT'S GOING TO BE SO EXCITING.

Richard says SO JUST IN THE PAST COUPLE
OF YEARS, WE'VE HAD HIT
MUSICALS, SITCOMS, HIGH RATED
EVENING SERIES, TALK SHOWS,
THE GAMUT.
IF THE MAGIC FAIRY OR GOD, OR
WHOEVER YOU WANT TO CALL HIM,
CAME ALONG RIGHT
NOW AND SAID, CAMILLA SCOTT,
AFTER
JAKE AND JILL
YOU
CAN DO ANYTHING YOU WANT.
WHAT IS IT?

Camilla says I WOULD STAR ON
BROADWAY IN SOMETHING.

Richard says IN WHAT?
WHAT KIND OF SHOW?

Camilla says I WOULD SAY
ANNIE GET YOUR
GUN,
BUT BERNADETTE IS
ALREADY DOING IT.
SOMETHING LIKE THAT, I THINK.
I WOULD LOVE TO DO A BIG
MUSICAL ON BROADWAY.

Richard says WHY WOULD IT BE DIFFERENT TO
YOU -- LIKE
CRAZY FOR YOU,
YOU DID THE IDENTICAL SHOW
WITH THE IDENTICAL PEOPLE IN
TORONTO FOR TWO YEARS.
WHY WOULD IT BE DIFFERENT?
JUST 'COS IT IS BROADWAY?

Camilla says YEAH, AND THERE IS
SO MUCH MORE THERE.
THE PROBLEM WITH TORONTO, NOT
THAT IT'S A PROBLEM, AND I
DON'T WANT TO EVER THINK THAT,
BUT THE BIG MUSICALS THAT
I'M RIGHT FOR ARE SO
FEW AND FAR BETWEEN.
LIKE THREE YEARS AGO, FOUR, FIVE
YEARS AGO WAS
CRAZY FOR YOU,
THE NEXT ONE THAT CAME
ALONG IS
PAJAMA GAME.
IF I ONLY EVER WANTED TO
WORK ONCE EVERY FIVE YEARS,
I'D BE THRILLED.
BUT IN NEW YORK AND LONDON,
THE PEOPLE JUST GO FROM SHOW
TO SHOW TO SHOW TO SHOW TO
SHOW, AND THAT'S REALLY
WHAT I WOULD LOVE TO DO.
SO THAT'S THE WHOLE IDEA OF
GETTING -- HERE, I'M VERY WELL
KNOWN FOR THIS.
I'M NOBODY THERE.
THEY DON'T KNOW WHO I AM.

Richard says BUT YOU'LL GET IT.

Camilla says YES, EXACTLY.
BUT I NEED TO GET THERE.
AND I NEED TO SORT
OF GET SOMETHING.

Richard says THE GUYS WHO WROTE
PAJAMA
GAME
ALSO WROTE
DAMN YANKEES.
AND WHATEVER LOLA WANTS,
WHATEVER LOLA GETS, AND
WHATEVER CAMILLA WANTS,
I THINK CAMILLA GETS.
GOOD LUCK.

Camilla says I HOPE SO.

Richard says CAMILLA SCOTT, THANK
YOU FOR BEING WITH US.

Camilla says THANK YOU.

Richard faces the screen and says
FOR
DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOOD-BYE FOR NOW.

Music plays as the end slate reads “Special thanks to Mirvish Productions.”

Dialogue. A production of TVOntario. Copyright 1999, The Ontario Educational Communications Authority.

Watch: Camilla Scott