Bill murray 1 800 number

09.11.2019
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Here Is What Happens When You Call Bill Murrays 1-800 Number

Bill Murrays 1-800 number, which he uses in lieu of an agent, is one of those pieces of Hollywood lore thats never been fully explained. How do you find it, and what happens when you dial it? Ted Melfi, who cast Murray in the upcoming St. Vincent through the 800 number, is here to tell all.

In an interview with The Wall Street Journal, Melfi reveals that he got the number through producer Fred Roos. (Roos told Murray hed given it out, but its unknown if this is a standard procedure for a Murray associate giving out the number.) Over the course of 2012, Melfi called the number numerous times, and was greeted each time by a generic computer voice telling him to leave a message. He heard nothing until Murrays lawyer got in touch, telling Melfi to send copies of the script to random P.O. boxes across the country. Melfi then received a call from Murray himself, asking him to fly to Cannes immediately. Melfi couldnt, and the project seemed off. Until Murray texted back weeks later, telling the director to meet him at LAX.

At their rendezvous, Melfi finally got his own crazy Bill Murray story:

They boarded a chauffeured Town Car, then picked up four grilled-cheese sandwiches at In-N-Out Burger. And we drove for three hours through the Pechanga Indian reservation go to San Diego and take a left. Mr. Murrays house was down a private road at the back of a golf course. I had to use the bathroom and he goes, Dont forget to jiggle the handle. Then we walk outside, and he says We should do this. Lets make a movie. I said Bill, there s just one thing I wanna ask you. Do you think you could tell someone other than me that this happened?

In case youre wondering whether hes making this up, Melfi told a basically identical anecdote to USA Today a month ago. The story checks out!


bill murray 1 800 number
How to call Bill Murrays 1-800 number according to ST. VINCENT writer/director

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Ive Left Countless Messages on His 1-800 Number: Tommy Avallone and Max Paolucci on their SXSW Doc, The Bill Murray Stories: Life Lessons Learned from a Mythical Man | Filmmaker Magazine

New Jersey-based filmmaker Tommy Avallone is gathering serious buzz at SXSW for his The Bill Murray Stories: Life Lessons Learned From a Mythical Man, a doc charting Bill Murrays impromptu drop-ins on the regular folk encounters seem closer to urban legends than actual experiences. Even Bill Murray himself said at ComicCon in 2015 that the stories such as his bartending at the Shangri-la bar in Austin during SXSW 2010 or his showing up at a birthday party in South Carolina after a basketball game or his washing dishes at someones house party in St Andrews, Scotland werent true, though they sound like fun. Yet, as Avallone and his producing partner Max Paolucci, who previously collaborated on the Ghostbusters fan doc, Ghostheads, found in their extensive research, somehow, these tales are indeed true.

Filmmaker met with director Avallone and producer Max Paolucci while at the films world premiere at SXSW.

Filmmaker: What inspired you to make this film?

Avallone: I was interviewing some of the Ghostbuster fans, and I fell in love with these subjects. They were so genuinely excited, just as the fans we came to meet during the filming of this film.

Paolucci: We did a lot of research, and we thought wed find a lot of stories that were not true or overblown, but 95% were all true. People were very proud and had come to life when asked about these stories, and that is empowering and energizing to see how [a celebrity like Bill] can be. There is nothing about it like, Im Bill Murray, a limo pulls up, fireworks go off. No, its just Bill over someones shoulder playing the piano, or Bill bartending, or Bill having a conversation with someone. The more we got to talking to those people, the more we got to see this throughline it was really affecting people. He was just being a good guy.

Avallone: He honestly likes to sit down and talk to people about them. There is this scene where he meets this guy at Shangri La in Austin and they are talking about music; he cares about other people.

Filmmaker: Talk us through the timeline of the film.

Avallone: We started around 2015, and we shot the kickball story, an expert, and karaoke story so we could put together a sizzle reel. And then during Tribeca, after Ghostheads was doing well, people started asking us what we were doing next, and we said, Here is the sizzle for Bill Murray. Lets do it! And that was that we started filming in the later half of 2016 for around a year to a year and a half and we edited full time for around nine months.

Filmmaker: Could you talk through what kind of film crew and equipment you had to work with?

Avallone: We are from New Jersey and Philadelphia, and we have our own equipment. The crew is me and Max plus we have a sound supervisor and a DP, and I also do the editing. It ruins everything, it becomes less intimate if you have more people. We used the C300 Mark II and 5D Mark III, and sometimes we use the iPhone too.

Paolucci: We shot a lot on the iPhone using a filmic app that lets you shoot RAW, and we used an Osmo stabilizer. A C300 weighs too much to run around with. And we started seeing a better result on the iPhone.

Avallone: Because we shot everything 4K, we had to have 17 TB on a bi-coastal mainframe. It was intense. And I moved halfway through [Max] is in Philly and I am now in Burbank. It was always like once a week Skypes. I am also awful at Dropbox.

Filmmaker: Do you edit throughout production?

Avallone: Editing didnt start until we were done with shooting. I would talk to Max What do you think of this? That is my favorite part of making these movies. We drove to South Carolina to interview these people, and as soon as you get back in the car, you start asking yourselves, So what do you think? I love talking about what we just did and put puzzle pieces together.

Filmmaker: Was it challenging to access these people and the footage?

Avallone: I cant imagine how someone would have done this 20 years ago. But the kickball story is a good example. So you go on Facebook, and you try to find that person and that person lives in New York, so you go through their friend list. Who is the actor/comedian that accepts everyone, so you find them and that person accepts you and you can then friend Margaret.

Thankfully I did the I Am Santa Claus movie [that documents an entire year in the lives of five real-bearded professional Santa Clauses] so I could reference that as my other movie. And some people had actually seen it, and thats awesome. Some people you had to convince Some people would go, This is the thing thats happened to me why would someone want to videotape that? But most people jumped on.

Filmmaker: How did you access the footage? Did you have to pay access fees?

Avallone: We got handed footage that has never been seen. There is stuff from the Austin house party there are pictures out there but this guy has 30 minutes of video because sometimes they video themselves. And then Bill Murray shows up. It was fun to see that! And this guy on his motorcycle in California put a GoPro on his helmet so he could film for his YouTube channel, and there is this truck stopped on the side of the road, so the motorcyclist decides to stop and help this guy out. And its Bill Murray! Its so random. Its like Wheres Waldo? And no, we didnt have to pay for the footage.

Filmmaker: There is an image of Tommy with Bill Murray at the start. How did you decide to structure the story?

Avallone: The start is of a thumbnail picture of me and Bill. We purposefully did that because we didnt want this to be a movie that is like, My name is Tommy Avallone, and I am trying to find a Bill Murray story. Lets get the photo of me and Bill out of the way and then just enjoy the story. We didnt want people starting to think it was something that it wasnt.

The ending was hard I was trying to figure out the best way to put it together. I would write something and send it to Max and wed come together and try and write it. I was sick for a whole month. My voice was this nasally awful thing not ideal for voice-over. So it was about fine tuning the opening and the ending.

Filmmaker:What do you want people to take away from this film?

Paolucci: Ultimately things dont need to matter as much unless you make them matter. A small thing can mean so much. If you stub your toe, you shouldnt let it ruin your day. When we talked to these people, this is their biggest story, they tell it to everyone. And it has lit up their life. This movie has something we can take away as filmmakers.

Filmmaker: So what about your wish to meet Bill Murray?

Avallone: Lets just say Ive left countless messages on his 1-800 number.

Filmmaker: What are you working on now?

Avallone: Ill start editing the next one. Its called Waldo on Weed. The idea is this guy from Philly, who got eye cancer beginning at six months old, used counteractive chemo. He filmed all this stuff from a flip cam trying to go through it. So we were like shoot the interviews. Whoopi Goldberg is our EP.

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