Today we are talking to a star of many notable films and television shows who initially surprised many viewers with his commanding presence as the voice of the Beast in Disney’s classic animated film BEAUTY & THE BEAST, now back in theaters for its twentieth anniversary (in 3D) - the one and only Robby Benson. In addition to telling us all about his impressions of and experiences working on BEAUTY & THE BEAST and what he thinks of the new 3D movie experience, he also shares his affection for co-stars Angela Lansbury and Paige O’Hara - both having been previous InDepth InterView participants, as well - and what the storied legacy of the film means to him. Also, Benson discusses his talented family, including his rock star wife, Karla DeVito, and their daughter, a star-on-the-rise in her own right, Lyric (her Benson-produced debut album, LYRIC’S LOVE LIGHT REVOLUTION, is available here) and details the many hats he wears as an actor, director, producer, author, singer and recording artist. Plus, recollections on ICE CASTLES and its haunting Marvin Hamlisch theme, directing FRIENDS and EVENING SHADE, his vivid memories of performing in OLIVER!, THE ROTHSCHILDS, THE PIRATES OF PENZANCE on Broadway and a discussion of his own semi-auto-biographical musical, OPEN HEART, and, of course, what it was like being suggested by Francis Ford Coppola to George Lucas for a role in STAR WARS - and much, much more!
BEAUTY & THE BEAST on Blu-ray and DVD is available here or you can visit the official site here.
Also, be sure to catch the full experience of BEAUTY & THE BEAST 3D while you can, in theaters nationwide now!
Robby’s Revolution & Evolution
PC: Many people were not necessarily familiar with your vocal skills prior to BEAUTY & THE BEAST - even though you had worked extensively in music before and had written songs for films.
RB: Yeah, I mean, I had scored a film. I co-wrote the song “We Are Not Alone” in THE BREAKFAST CLUB.
PC: One of your wife Karla DeVito’s most famous recordings.
RB: Right. Really, music has been the core of my life. Music runs through everything I do - I even think musically; even when I was acting, but, especially, when I am directing. Directing is very musical.
PC: How did you start getting involved in music in the first place?
RB: Well, I started playing guitar when I was 6 or 7 years old and I think that, within a week of getting my first guitar, I started writing music. I just love it. And, I mean, OPEN HEART - my musical - played at the Cherry Lane Theater and we actually got some really lovely reviews.
PC: What’s the future for that show? I know you did it again in 2008.
RB: Yeah, we did it again and it was wonderful - Randy West really brought the show to life. And, you know, I have a bad habit of just saying, “Oh, we’re done with that, so let’s move on,” but, we may actually go and revisit that particular project because of what Randy West did at the Sondheim Theater.
PC: What did he do to make it better?
RB: He just turned it into something so spectacular - and, it suddenly made a lot of sense to me. So, you know, that may be something you will be seeing in the future, too - I hope.
PC: These things take time.
RB: Yeah, these things do take time and it’s tough - it’s really tough because it’s a hard nut to crack. But, I think that if you are really passionate about it and you want to stick with it, that’s what is worth doing - and that’s what we’re going to do.
PC: Elizabeth Ashley has done this column and I know you directed her way back when on EVENING SHADE. So many great theatre actors were on that show.
RB: Right. Michael Jeter. Hal Holbrook.
PC: Of course.
RB: You know, it’s so funny because George Schaefer directed us in OUR TOWN with Hal Holbrook. Everyone at the time looked at Hal Holbrook as the Great American Actor - and, even the Great American Actor has to eat!
PC: Without a doubt.
RB: Every actor has to eat - even the Great American Actor - so, he ended up doing a sitcom. So, you know, there I am directing the Great American Actor!
PC: So surreal.
RB: Oh, yeah! And, they all treated me with such compassion - they were just so kind to me. Liz, Michael, Hal, Burt - everyone. I loved working with them. And, they loved collaborating and they loved my off-the-wall thoughts - they would just go with it. We had a blast.
PC: You ended up being a master director of FRIENDS, as well - which is one of the most popular shows in Europe to this day, in reruns.
RB: [Laughs.] Yeah, I think you’re right! It is.
PC: Did you get your love for music and direction from your experience doing theatre - specifically, THE ROTHSCHILDS? Did you ever observe the musicians in the pit?
RB: Well, actually, that’s a very savvy question, if you want to know the truth. When I was about 9 or 10 I did OLIVER! in Summer stock. I just adored the music - I could not get the music out of my head. It would never leave me. I think I just loved when great people sang. I then got the chance to do OLIVER! in Japan and I would always - always - hang out in the pit.
PC: No way!
RB: Yeah. I told the musical director - the conductor - that my goal in life was to be a conductor. And, so, he allowed me to conduct the orchestra for some of the understudy rehearsals. That’s always been my love and my passion - conducting.
PC: How interesting.
RB: I mean, I cannot even tell you what that experience meant to me. But, yes, when I was in THE ROTHSCHILDS, you know, I would go down and be in the pit when I wasn’t onstage. Because I was young Solomon Rothschild, the whole second act I wasn’t onstage - so there I would be, in the pit. And, for PIRATES OF PENZANCE, we had a great orchestra, too. You know, for me, it’s pure bliss to be surrounded by music. I just can’t imagine life without making music.
PC: Your true passion - how great that you are so well-known for being in a classic movie musical like BEAUTY & THE BEAST.
RB: It is one of the reasons why, when we did BEAUTY & THE BEAST, I remember turning to Jeffrey Katzenberg - who was a very important part of BEAUTY & THE BEAST, whether some people like it or not; he was there and he had a lot to say - I remember saying to him, “This isn’t like an animated feature - this is like a Broadway show.” And, it was.
PC: Totally. In almost every way.
RB: It’s all because of Ashman and Menken.
PC: And the “Belle” sequence is as good as musical storytelling gets - onstage or onscreen - as Frank Rich himself actually said in the New York Times at the time.
RB: Yeah! Yeah. And, you know what? I had absolutely nothing to do with that song, so I can say this without feeling arrogant: I agree with him! [Laughs.]
PC: It’s true. It meant a lot that he said it, though. How did your audition process work for the film? Did you get an offer?
RB: No, no, no - there was a huge audition process. I don’t remember how many people were up for it, but, I remember sitting in the room for my first audition and two things went through my mind. One, from the sides, I never looked at this character as if he was a cartoon. I kind of related to the frustration, and, for some strange reason, I related to the piece. I don’t know what that says about me, but that’s the truth.
PC: It spoke to you in some way - subconscious or conscious.
RB: Also, though, when I walked into the room at Disney studios, I could not believe they were recording the auditions on a Sony Walkman!
PC: That’s unbelievable.
RB: I am not kidding you! As a sound engineer and someone who has had a little home studio since I was a teenager, I knew it had a condenser mic. I kept thinking of every actor who probably walked in there and probably tried to blow away everyone as the Beast with this big sound and all that would do is get compressed and it would get squashed and have no dynamics whatsoever on the recording.
PC: How fascinating.
RB: So, remember to, you know, not only just always play the part and play it honestly, but remember mic technique, too, man! [Laughs.]
PC: For real!
RB: And remember the type of equipment that is being used, too.
PC: True, sage words of wisdom.
RB: I know that’s what got me to the last round of auditions. I remember that the last round of auditions were in the main Disney room where they do all the voiceovers.
PC: Did you sing at that?
RB: No. There was no singing for the Beast until, I think, Paige O’Hara went to them and said, “You know, Robby has been on Broadway and he has been in musicals. He sings, you know.” I was on THE TONIGHT SHOW. I mean, I was on THE ED SULLIVAN SHOW singing!
PC: You had had some major experience.
RB: Yeah, but none of them could believe it. They said, “Well, we never thought about the Beast singing, really, so let’s think about it.” And, next thing I knew, we were doing it in New York just like you do a Broadway musical.
PC: The sitzprobe.
RB: Yeah - exactly. The whole orchestra is there; you sit in a booth and you sing through it once with the orchestra - and that’s it. You do the entire musical in one day, basically. So, next thing I knew, I was singing “Something There” with Paige. One take - that was it; a voice check and one take. Then, we had the good fortune of hearing Angela Lansbury sing “Beauty & The Beast”.
PC: Paige spoke about that when she just did this column, as well. What a magical moment that must have been.
RB: That was so remarkable. [Pause.] That is a moment I will never, ever forget.
PC: When Angela Lansbury did this column she spoke of how she had significant influence on the sound of her character's music. Did you have any input into your character’s musical sound?
RB: Well, not really - to be quite honest. I think that I was really an afterthought, and, luckily, I performed well enough for them to keep it. That’s just the God’s honest truth.
PC: Thank goodness it happened, then.
RB: I think when it came to our little duet - which isn’t much - I think they were happy with it and then we just moved on.
PC: Too bad there isn’t more musical material for you in the film.
RB: When it came to the voice work and portraying the Beast as an actor, I was given a lot of leeway and I did get to have a lot of input, though. That’s to their credit - that they had the ego-less-ness to allow an actor to say, “Well, what if he does this? Would you ever consider this?” And, they would say, “Sure. Go ahead and try it!” So, that was really great.
PC: It sounds like a great collaboration. What are your thoughts on the stage version and the expanded score? Have you ever sung “If I Can’t Love Her”?
RB: No, I have never sung it, but Mr. Katzenberg did ask me if I was interested in doing it, right before they did it.
PC: What did you say?
RB: He literally offered it to me. He said I would be wearing some 20-pound head onstage. And, I thought, “Wait a minute, this could be so cool - like THE ELEPHANT MAN or something! Don’t do something like from a Disney theme park, do something really cool with it!” So, my take on BEAUTY & THE BEAST onstage is a little different than I think their take was on it. [Laughs.]
PC: To say the least.
RB: Yeah, but I really enjoy the film and I am really glad people enjoy the Broadway show. I think with THE LION KING [On Broadway] is where somebody started to say, “Woah! We can be really creative here.” So, maybe there will be another stage incarnation of BEAUTY & THE BEAST and it will be more stylized.
PC: Since the original film was one of the first animated films to use 3D technology - in the ballroom scene - what are your thoughts on this new 3D version of the film?
RB: Well, listen, I’ve been really lucky - I teach film.
PC: At Tisch, yes?
RB: Yes. I’ve been a film professor for 22 years. So, the way that I look at it is this: if it is a gimmick, it probably doesn’t work; but, if it is a tool and it helps you tell the story better, then use it.
PC: Good advice.
RB: I think that a lot of 3D films make the mistake of thinking, “Oh, since it’s in 3D, everyone wants to see it.” But, in BEAUTY & THE BEAST 3D, it enhanced the movie.
PC: It really does.
RB: I didn’t think it would be possible, but it made the movie so much more enchanting and beautiful and breathtaking - you feel like you are involved in every scene, especially the ballroom scene. [Pause.] It’s absolutely gorgeous.
PC: It really is.
RB: And, again, here I am - I’m the voice that seems to be taking credit for all of it. But, the truth of the matter is, it’s John Lasseter and Glen Keane and all the animators and Don Hahn…
PC: Don Hahn has done this column for WAKING SLEEPING BEAUTY. What a riveting documentary on the people behind the scenes of these films.
RB: They are really the guys who made it all happen.
PC: I’d love for you to share a few words on some of the iconic leading men you’ve worked with over the years.
RB: Oh, sure.
PC: George Burns - TWO OF A KIND.
RB: Oh, a few words? Hmm. I would say: adorable, compassionate, loving, caring and funny beyond belief.
PC: Paul Newman - HARRY & SON.
RB: Strong, fair, thoughtful - and a great, great friend.
PC: George Lucas just announced he will not be making any more studio films in Hollywood, so I am curious what your STAR WARS audition process was like? I know you were in contention for Luke Skywalker at one point.
RB: Well, actually, what happened was that Francis Ford Coppola liked my work, so that was certainly very lucky for me back then.
PC: I bet.
RB: So, I got a call on a Saturday, and, he said, “I want you to come to this place - this address - and I want you to audition for this film. I can’t tell you any more about it, but I think you would be good in it.”
PC: How mysterious!
RB: I know, right? And, so, I went to this place and there was just a camera operator there. Then, they handed me these words and I said my name and looked at the words and then I just auditioned. I tried to get the camera operator to tell me something - you know, give me a hint. I would say things like, “What is an R2D2? Give me any hint! Anything!” And he wouldn’t say a word! [Laughs.]
PC: How frustrating for you.
RB: Yeah, so, it was an honor to have been thought of, but it was a very peculiar morning, I can tell you that. [Laughs.]
PC: Moving to today: is there a future for your TV pilot, BRAVE NEW WORLD?
RB: Well, BRAVE NEW WORLD did not get picked up, unfortunately. Peter Tolan is a brilliant, brilliant writer, though. It’s a shame it didn't work out because it was a really funny show.
PC: When can we expect your next book, I’M NOT DEAD… YET!?
RB: I’m not quite sure when I will be finished with I’M NOT DEAD… YET!, but I want to finish it as soon as possible because I think it will be a very comedic and funny way to help people deal with heart problems.
PC: And your currently available book was a big hit, of course - WHO STOLE THE FUNNY?
RB: Yeah, it actually was a bestseller! It made the top ten list - and that’s pretty cool! [Laughs.]
PC: Congratulations! Speaking of one of your biggest successes, I have to ask: have you ever sung or recorded Marvin Hamlisch’s ICE CASTLES theme?
RB: No, actually I never have! 
PC: It’s a great song. He's such a fantastic film composer.
RB: It is, but I really don’t think anyone but Melissa Manchester can give it its due.
PC: You might be right. It's like a Liza Minnelli song - your inimitable co-star from LUCKY LADY and RENT-A-COP.
RB: That’s right! That’s right. Exactly.
PC: How can you follow acts like that?
RB: [Laughs.] Exactly. Exactly. You can't.
PC: Your super-talented wife is famous for singing a duet with the one and only legend Jim Steinman. Have you two met?
RB: Oh, yeah! Karla and Jim talk all the time - I think they spoke yesterday, to be honest. I think he’s being inducted into the Songwriters Hall Of Fame this year, too.
PC: Yes. He’s nominated.
RB: He’s amazing. I also helped him because I had open heart surgery and we spoke about it because he had some heart problems. He’s a great guy and he’s very, very cool. And, Karla, as you know, is probably just the most gifted singer that ever walked the earth.
PC: On “Dance In My Pants”, especially.
RB: [Laughs.] Yes! Absolutely. You’re absolutely right.
PC: Have you ever performed that or “Paradise By The Dashboard Light” with Karla?
RB: No, but, as a side-line I will tell you that I just finished an album with our daughter, Lyric. It’s called LYRIC’S LOVE LIGHT REVOLUTION. It came out so beautifully and we are so proud of it.
PC: How 21st century! Your website is so exceptionally well-done, as well, I might add.
RB: Oh, that’s so cool to hear, man. You know who does a lot of that? Karla.
PC: She's clearly multi-talented! Will you two do an album together someday, do you think?
RB: Yes. Actually, because Lyric’s album turned out so beautifully, I am doing Karla’s next album. As you know, she had two albums back in the 80s…
PC: IS THIS A COOL WORLD, OR WHAT? - what a title!
RB: Yes! IS THIS A COOL WORLD, OR WHAT?, which was a very good album.
PC: Indeed - it was.
RB: But, then, she did a second album that you know… it just was not a good fit for her.
PC: What a shame. Why do you think that was?
RB: She has an incredible sense of humor and, unfortunately, the label took every song too seriously and made it all about teen angst or something and it just wasn’t fun. Karla is so fun and funny. So, yeah, we are going to do her next album soon. This time next year, her album will be coming out. LYRIC’S LOVE LIGHT REVOLUTION is the main focus right now, though. Please tell all your readers to go pick it up!
PC: Undoubtedly! Please send my very best to your astonishingly talented family. This was fabulous, Robby. Thank you so much.
RB: This was so awesome, Pat! Thank you very, very much. Have a great day. Bye Bye
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