“I will never put down the importance of a character like Callahan again – important in ways we can’t fully understand in this country. A strong woman who can do a man’s work and receive the same rewards? Not all that funny to some.” – Leslie Easterbrook
That is actress Leslie Easterbrook talking about the power her characters has over moviegoers that seems to extend into other countries. Leslie is famous for playing Sgt. Callahan in the POLICE ACADEMY series and most recently being in horror films like THE DEVILS REJECTS. In Part 1 of the interview, Leslie talks about her roles as strong women, mentoring young girls in real life, a betrayal during the making of PRIVATE RESORT, and the proposed POLICE ACADEMY 8.
HYB: I noticed you have been in every one of the POLICE ACADEMYs except Part 2. Why was your character Callahan missing?
LE: I usually use the standard line, “I was already filming another movie at the same time my buddies were shooting PA 2.” And I was. But, the more fundamental reason for my absence is this: after the original PA, the cadets graduated from the Police Academy. When they went out into our limbo city as cops in PA 2, our producer, Paul Mazlansky, and the brass at Warner’s couldn’t conceive of how, or even why, their original instructors would be working out there on the street with ‘em. It took the ingenious plot (at least I think it was ingenious), concocted by screenwriter Gene Quintano, of PA 3, to provide a logical reason to blend student with instructor again, this time as equals — fighting to keep their Alma Madre from being bested and forgotten.
But, and this is a fact, I did get 2 inquiry calls from the producer’s office. I think it was a combination of my being otherwise engaged, plus them not knowing how to use my character Callahan in #2. I don’t think they were ever really planning to make an offer.
I was filming one of the world’s worst movies instead– and it has LIVED to haunt me. That must have been in what — 1984?
HYB: Was it PRIVATE RESORT?
LE: How did you guess? You don’t have to answer that.
I got to work with Hector Elizondo, Rob Morrow, and Johnny Depp, though, didn’t I? Mr. Depp was terrific. He was only 19, funny and lovely to work with. Andrew Clay and Dodie Goodman were in it, too. This is a controversial comment, I know, but I didn’t care for Andrew Dice Clay’s sexist comedy. Can’t say it wasn’t funny, though. I just like him better as Andrew Clay.
I read the PRIVATE RESORT script and, although I thought it had a certain sleazy sense of humor, it was totally lame. Boaz Davidson was in the process of rewriting it, however, and was also set to direct it. That was the good news.
As a bit of history, when I played Rhonda on “Laverne and Shirley,” I was, and rightly so, the last chick in the pecking order — because I was the new kid on the block. After arriving on the set for rehearsal everyday, I would sit in a corner, listen carefully and then try to perform whatever was put before me to the best of my ability. I didn’t make any unnecessary comments or suggestions – I was determined to keep my job and felt silence and obedience were my safest tactics.
Mr. Davidson, on the other hand, asked me to contribute to the development of my character in “Private Resort.” He asked Hector, too, for ideas about his role and then asked for input from both of us about our relationship and how it functioned. Absolutely cool concept, right? Well, we came up with some great stuff and both of us were really looking forward to the shoot. But, by the time we arrived on location in Key Largo, FL, Ben Efraim, the producer, had fired Boaz Davidson. None of the actor’s had been notified. We quickly discovered we were back to working from the original script – no improvising and no character development. It’s a credit to the genius of Johnny Depp and Rob Marrow that it’s even watchable. I just saw it for sale on the checkout line at Fry’s Electronics in Encino, CA. for God’s Sake. We made the silly thing in 1984!
Oh, one more little tid-bit. After principal photography was completed, Mr. Efraim took all of the raw footage out of the country, edited the film (out of sequence – and quite obviously so, if you try to watch the whole thing in one go) and then discarded the footage he didn’t use. Amazing!
Also, the director of the film had never even directed before. To his credit, he had edited some films and he actually performed a valiant job helming the movie. He did insist we say the lines as written, though. It’s heartbreaking to think of what great stuff he may have missed from the likes of Hector Elizondo, Dodie Goodman and Andrew Clay!
Then there was the lack of a nudity clause in my contract. I didn’t ever want to work nude – it seemed so degrading — but after a couple of great meetings with Boaz Davidson, I was convinced that the movie would be good and that the nudity was necessary and even funny. I finally agreed, but only to be shot naked from the back.
During a silly and frantic scene in my bedroom with Johnny Depp, I was wearing a fairly sheer nightgown. Unbeknownst to me, Mr. Ehraim had the DP “over-light” the room. That night, when I got home from the set, a very large, beautiful plant was sitting by my front door – tied up with a big red ribbon and wearing a card. The card read, “Thank you for your cooperation, Ben.” I grant you, it seemed a little odd, but I’m an actor and naturally insecure — I thought perhaps my performance had been particularly appreciated that day. You see I had no idea that over lighting a sheer material like that could make you appear NUDE. I ran around all day, naked, and never knew it! With a 19 year old Johnny Depp…
I took 8 guests to the cast and crew screening. The moment that scene came on, I grabbed my friend’s arm so hard he screamed out loud. Then the fight began – I fought to make it impossible for that to EVER happen to an actor again!
HYB: No, they can’t do that without it written into your contract.
LE: Well, I didn’t even want the film to come out. Frankly, I wanted it burned. I think it premiered in one city in the south and played for one or two nights only. Boy, was I relieved – until it turned up on TV. My manager and I tried to keep it off of TV, but were obviously unsuccessful. The joke is on me because now, 23 years later, I look at it and think, “Who was that thin young thing?”
HYB: An actor gives the director a certain amount of trust to work with and if that is broken, then it will affect you on your future performances as well.
LE: I agree. And in terms of the film, what hurt most was not getting to work with Boaz Davidson. It could have been a good film instead of just silly and personally embarrassing.
It was especially frustrating because I’d just done the first POLICE ACADEMY movie. Reading that script made me laugh out loud even before I was cast in the movie. We all laughed constantly throughout filming; and then I laughed myself silly at the first screening. It was a pure and total labor of love! And it had just grossed $170,000,000 domestically. I guess, all in all, I was just disappointed in PRIVATE RESORT.
HYB: Do you have any funny stories about Bobcat Goldthwait or Steve Guttenberg from POLICE ACADEMY?
LE: I love both of them and they are 2 of the smartest people I’ve ever met. Of course, Steve was missing from PA 5-7 and we missed him. He got too expensive – lucky guy. I guess if one of us was going to breakout, I’m glad it was Steve. There were never any hard feelings about it either. It’s not a surprise that both Steve and Bobcat both became directors. They were always full of good ideas – actors were always heard on PA sets. (I’m only speaking about small changes in a scene here and there, of course.) I always thought the original movie was the best. All the directors were different and each of them wanted to put their own stamp on their own sequel. The writers were different, too, except for Gene Quintano, who wrote 3 of them. Our characters were never really developed – we just kept doing the same jokes in different situations and for different directors. There was a successful formula there and you can’t argue with using it…over…and over.., can you? One day I will tell you a couple of good stories about Bobcat and Steve, but they will both have to be either dead or deaf. If you love a good story, pray they go first. HYB: How would you have developed your character Callahan? Do you think she would be married? LE: I always felt her relationship in the first movie was the best. “Want him, have him, own him” – how can you beatthat? But, alas, she’s in love with her work, so I don’t think a marriage with George Martin would have worked. She simply can’t cradle a person the way she embraces her responsibility. Oh, there have been rumblings for years that in “Part 8” she should take over from Commandant Lassard. She’s always displayed that kind of commitment to the academy. I’m not getting too excited about the prospect of a promotion, however. As far as I know, George Gaines is going strong and has no intention of retiring. Get Your Copy of Police Academy - The Complete Collection Here HYB: How is Part 8 coming along? Is it a Go? LE: Well, it’s anybody’s guess. Warner Brothers (which owns the franchise), Jerry Weintraub Prods. and Village Road Show all joined forces a couple of years ago and tried to get it going. According to our producer, a couple of scripts were even written. There seems to be some confusion about what it should be — a remake or a sequel. As much heat as we’ve all taken for the stupidity of those movies, I think the original cast would all vote for a sequel. The films may not have been award worthy, but the friendships formed, both within the cast and crew, but also with an unbelievable number of really cool fans, have made those silly movies a very special part of our lives. I know the prospect of getting to play again with my very best friends ever for a few months of “Comedy Camp” makes my heart skip a beat and a tear of joy spring to my eye. Of course, I’m not sure if today’s young audience would appreciate watching a police officer apprehend a crook after chasing him down using her walker as a weapon. Hey, we could even train a new group of misfits and spawn a whole new series of sequels – the possibilities are endless… HYB: Do you feel honored to be considered a sex symbol in the Police Academy series or did the attention bother you? LE: It is really nice now. I get kids in their twenties telling me that their first crush was on Callahan. It’s very flattering. But at the time, I was convinced it was her toughness and her ability to get the job done that were Callahan’s special qualities. The sexy part felt so unimportant. She never acted sexy or seductive – well, until part 7, anyway, and then she was just silly (bad) at it. When I got cast in the role of Rhonda on Laverne & Shirley, 3 years before the first PA movie, I was surprised to get the contract. I remember, at the third audition, Gerry Marshall said, “That dress is not Rhonda. Next time where something sexy.” And I thought, “Whoa”. I was wearing a nice little high-necked lacey number I had gotten for my wedding. I never occurred to me to dress sexy. It never occurred to me that I would be cast as a sexy person. Rhonda was just a very obnoxious person, in my opinion. Then, in my first episode, I was costumed in a bathing suit. I tried to have it changed to something more modest – I had taken the role as an acting challenge. How to play the caustic bimbo… And then on PA, I worked really hard to find the character. I’m not the take-charge type but learned how to act it for the audition. I never thought of her as sexy either. There was nothing sexy about Callahan — but the boobs. So when I read the scene where she rips her shirt open, all I thought was, “How funny!” I went to the Kmart and bought the nastiest, biggest, support conscious Playtex bra in the store. You know, the kind of cotton bra that covers everything from your shoulders to your rib cage? And then turns your breasts into bullets? The wardrobe people provided a pretty, low cut, silky push-up bra. But when I said “Oh no, she would never wear this,” they got it. I used mine and the rest is history. HYB: What about in relation to the work you do for charities such as Girls, Inc., which inspires and teaches girls to become strong women and learn their value? Do you think some of the work you’ve done before may be negatively perceived by some of the people that work in the charities? LE: I may have run into that. But the folks who run charities are usually clever enough not to tell me why I’ve been excluded, if my roles are the reason. When I do have the opportunity to talk to young people and they bring up something sexy, I explain to them that that was only a character I played and not me. The salient point is that I had to learn to believe in myself before I ever earned the chance to create a character in the first place. I always stress education and self-respect. The concept that if you dream it, you can be it, is big with me. I grew up cross-eyed on a small farm in Nebraska. My parents were farmers and teachers. I loved the movies. I wanted to be an actress and a singer. I sang the Nation Anthem at Super Bowl VII and I make movies. Girls and boys, too, can do and become whatever they want – if they have the courage to dream big and the discipline to work hard. If your lucky, life is a long process and you cam do even more great things! Back to PA — I can justify Callahan in that she had to wear the same uniform as the other police officers — only part of her just stood out a little more. That’s all. She did have a sexual appetite but it didn’t diminish her ability to do her job. And any person that chooses to serve a city and put her/his life on the line has my respect. Callahan is like that. HYB: Well, I grew up watching these films and I always viewed Callahan as a good role for being a strong woman that knew what she wanted and worked hard to get it. LE: During a publicity tour in Japan for PA 6, several of us were invited to a Japanese gentlemen’s club with the Warner Bros. brass. The beautiful gal who was our head hostess told me that the wives of the men would like to meet me, but were not allowed in the club – a loathsome practice, if you ask me. They had asked her if they could meet me outside when we left the club. Of course my answer was affirmative, but I had no idea what to expect. As I walked down the steps of the club at about 1AM that night, I saw an enormously long line of beautiful women, dressed in traditional Japanese kimonos, lining both sides of the street. Our hostess quickly explained to me that the wives had also brought many friends to see the strong and tall Callahan, a woman who had courage and power equal to a man’s. They had come to show their respect for my character. As I slowly walked by, each beautiful Japanese woman shyly looked me up and down and then quickly bowed her head. Not one of them spoke. As I touched the hand of each one of them that night, I felt humble, yet proud. Proud of Callahan and “Police Academy.” Block after block of them – all weeping. Needless to say, it was the most overwhelmingly powerful experience of my life. I will never put down the importance of a character like Callahan again – important in ways we can’t fully understand in this country. A strong woman who can do a man’s work and receive the same rewards? Not all that funny to some. HYB: I liked that she was strong and wanted to work. She didn’t want to impress people. She didn’t need to be in a relationship or need to be loved. LE: Thank you That’s what I have always loved about her. HYB: It is because she had blonde hair and a voluptuous body that people assumed she was a bimbo. It was just a stereotype that she was dumb. And even when there was a sex scene, she took HIM. She didn’t do it because a man expected it from her. LE: Yeah. Nogata says, “I wove America.” Callahan replies, “In America, talk is cheap.” He wants to chat? She doesn’t have time for that. She’s got weights to lift, classes to teach… Read Part 2 HERE of the Leslie Easterbrook interview where she talks at length about her horror films such as THE DEVILS REJECTS, HALLOWEEN, and HOUSE.
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