Home | IMDB entry | Bio | Photos | Demo Reel | On-set Reports | Videos | Event Calendar | Contact | Twitter | Links | Store | Blog | Site Map

Back to TV Reports Index | Back to Reports Index

Geoffrey Gould
Reports from the set/s...
Statue of Liberty: Building of a Colossus
TLC documentary

Thursday February 08, 2001 Morningstar Entertainment
I received a call from Christopher Grey Casting for an audition for [what I thought was] a film titled Statue of Liberty. I was auditioning for the role of "Laboulaye" for Morningstar Entertainment. I went to their Burbank offices where I learned it was to be a documentary, and that I was auditioning for Edouard-Rene de Laboulaye - the actual historical figure who initially conceived the idea of the Statute of Liberty.
The audition was different than most: a bit of an outline of What Could Be Indicated was provided but did not have to be memorized. I was paired with Noah Wylie resembling Jeremy with whom I would work again; when we toasted during one "take," his glass broke. The AD went to pick up the pieces and wha remained shattered more. Jeremy and I were quite abashed and apologetic, and we were assured they were major cheapo glasses (four for a buck) from Ikea.
I was not sure what to make of the audition, but I was praised for what I did. "Just in case," I gave to assistant Derrick McDaniel my headshot with my contact number at the top of the resume.

Thursday February 22, 2001
On the bus on my way to a friend's house for a previously rescheduled meeting, I got paged. At first I suspected it was another postponement when I was about ten minutes from my destination. Once there I checked my five new messages (five?! -- it'd only beeped once...!). Three were from an intern, Tony at Christopher Grey asking me to call back regarding the project (I figured it might be for a callback). One of the messages Tony realized he didn't know the number for me with which to call back, so he ended up saying lamely, "Well, I'm only an intern here, I'm sure you have the number."
Another Tony message gave the number and it was either wrong or my hasty scribbling I got it wrong (as it was wrong). The other two messages were from Derrick McDaniel who I met at the audition, thankfully to whom I'd given a headshot with my contact (pager) number. Each of his two messages had a different number, one of which was a machine at which I left a message, the other through which I got to him. He told me I was chosen and it was shooting Saturday the 24th ("Everyone who saw the tape said, 'Yep, that's our Laboulaye'."), a 1:00pm calltime, as well as indicating it's for The History Channel.
Understandably excited (and trying to "play it down" on the phone), I neglected to clarify with him specifically if this was something like an A role or if it is day player or principal or what, most of which I'd normally think for which I'd need an agent.
He was able to give me the location and to our mutual surprise, it was within a healthy hiking distance from my dwelling at the time. It was to be on Allott, which up by my domicile is a mere two li'l streets away (east) from Woodman. Allott does not go all the way through, but I knew I could take the Woodman bus down to Hatteras, directly between Oxnard and Burbank; from there Allott is (at that point actually) three li'l blocks over, a three to five minute walk, at the corner of Hattaras and Allott.

Saturday February 24, 2001
The entire weekend was cold and raining. I left earlier and got to Hattaras at about 12:20pm. A few moments from my destination my pager went off. Once there I asked for a phone and was told it was them, wondering where I was as my calltime turned out to be 11am.
I apologized that I never received word to that effect (I would learn later that while messages were left for me on Friday: my pager simply never went off for any of them).
I was costumed and although I had provided most of my sizes to Derrick on the phone Thursday night, the crew procured medium to large clothing, all of which were too large for my relatively slighter size. One of them was "close enough," and I met our affable director Len Talen, who through the day's work, reminded me of actor Bruce McGill.
As I suspected, they were using a private domicile for the shoot. Scheduled was the dinner scene (a combination of two historical dinners actually, according to Len's Statue of Liberty Encyclopedia book through which I skimmed), at which visionary Edouard-Rene de Laboulaye propulgated the concept of a gift to America to commemorate France's 100 year history of good will. The fellow with whom I'd initially auditioned was there as background at the table. The role of scultor Bartholdi was played by an actor named Morgan Davidson, who we'd later learn was from Norway.
The documentary would be an hour long (meaning approximately 45 minutes without commercials), and would actually air not on The History Channel, but on TLC: The Learning Channel, with currently no tentative airing date. I was also informed I would also receive a copy of the finished project. They referred to the others at the table as background but it was clarified to me (as with Morgan Davidson as Bartholdi), that in fact I was one of two principals in the recreationist scenes of the production, and that I could put it as such on my resume.
Our segments (dinner and art studio), were each taped MOS (Without Sound [aka Mit Out Sound: "Mit" being the German word for "with"] and no audio-taped dialogue; Voice Over narration would be added later).
As there was no taped words, we literally could say as we liked, reminding me of a documentary I once saw on the silent film Wings (the first movie to win an Academy Award), in which lip-readers in audiences complained as to the Utter Filth being spoken, I too began to "go off script" a bit. Len did not seem to mind, and while I did not "go nuts," lip readers could start to notice peculiar references, such as at one point I said, "This will a day long remembered," to which I could not resist adding, " has seen the end of Kenobi: it will soon see the end of the rebellion." How could I resist making such an obvious pop culture reference...?
Another take had me indicating the Statue would last for thousands of years and even up to its neck in sand with a lone horseman crying on his knees (etc., etc.). Now of course these comical lines of mine were done all passionately and Straight-Faced, no "actual" "clowning around" on my part.
Another slightly wider take, to encompass the group, had us mostly Just Talking Amongst Ourselves: during this sequence I was speaking with actor Robert Gersicoff (seated at my right).
When Norway-born actor Morgan Davidson (as Bartholdi), rose to describe his idea, that of a colossus, he did all of his lines at the dinner table in Swedish. With his gesticulations, his fluency of the language had a certain musical quality to it that was nearly hypnotic. As with mine own improvising, Morgan doing such his own Way (his lines in Swedish, not even done in Norwegian), was just as accepted.
When the dinner shots were done (the dinner party background had been released), we had a shot of my commending Morgan and shaking his hand (Laboulaye accepting Bartholdi to be the scultor for the project). For this brief sequence I said along the lines of, "I'm proud of you, my boy. Your eloquent words were quite moving. and I didn't understand a bloody word you were saying."
For our next scene, set some ten years later, Morgan and I were slightly "aged." In a small ajoining room off the front door (which in the dinner scene is directly behind me), the art studio was set up. A miniature in clay of the statue was on a stool. I was re-dressed into more formal clothes: ascot, top hat, cane and grey gloves. I enter to view and I admire the work and commend him.
Len had us do it a few different ways and again did not care what we were saying. The most I say "correctly" is "Bon jour" as I enter. From there apart from proper praise of "Magnifique" and "Fantastique," I smilingly began to add things such as, "Now I notice you still have her wearing clothes..."
Eventually, after a few takes, Morgan began to start asking me interesting things, such as, if I felt the breasts were large enough.
Their release/contract impressively declared me correctly as being an Independent Contractor, and clarifying it as a "buy out" (no residuals). I was released at 8:30pm or such: I know I left the dwelling at 8:43pm (missing the last northbound Woodman bus of the day by an hour or so). The walk home in the rain took me 45 minutes.

Wednesday June 20, 2001
At my rental box was a postcard notice from Morningstar of the upcoming dates for the airing of Statue of Liberty: Building of a Colossus (and two other projects on which they worked). The scheduled air dates were July 4th, 2001 at 7:00pm, and "immediately" re-airing that same evening (so actually July 5th), at 2:00am.

Wednesday July 04, 2001
House sitting for friends in Glendale, I set up my home VCR to record the 7pm airing as well as the subsequent 2am airing, both at two hour speed.
Normally I would sleep over, walk their dog Yeller, go to my day job after which spend a few hours at my own place not merely to check my email, but so my own cats at the time would not think they'd been abandoned. From there I'd head down to Glendale and spend the evening and sleep there. So on Independence Day, with my day job closed, I spent much of the day online and such at the Glendale apartment. Late in the afternoon I walked Yeller, and scooted back to mine own place to watch the 7pm airing and take out a commercial break or two, so the 2am airing would not run out of tape.
The Len Talen directed Morningstar Production was quite well assembled and compelling without being dry or boring. It was almost creepy to watch myself on television, in a truly featured and credited role. To my delight, the sequences in which I was used were broken up into numerous spots throughout the first half, so I kept popping in here and there. I accurately predicted being shown again in its summary towards the end, and was pleasantly surprised with another shot of me when it indicated Laboulaye dying a year before the statue's completion.
Having never received the contractually promised copy of a video of the completed documentary, I did not know how the "actual" ending credits otherwise look. But one thing was horrifyingly certain as far as the broadcast TLC version of the program's end credits.
In the side-bar that they used (so over the credits TLC could promote a three-part documentary on the genocidal Conquistadors), I found that to my horror my name had been misspelled in the closing credits!
Instead of "Geoffrey Gould" they'd spelled it "GEOFFERY GOULD."

Thursday July 12, 2001
Breach of contract
I dropped by the production offices of Morningstar Entertainment and was greeted by Derrick. I inquired as to the status of the promised copy of the video. Derrick seemed a little surprised and after thanking me for a print-out of the initial report page (as current as it was up to that time), he requested my mailing location to which to send. a request form for the video copy.
Now I do wonder why I would have to "request" something that was contractually obligated to me, and was a stipulation of my work, but as I did want the commercial-free copy, I patiently awaited the form with which to retrieve the promised copy of the video version of the documentary.
It never came.

Friday, August 08, 2003
Production website move
Previously, the website for Morningstar Entertainment was at but this site shortly vanished without notice. All away with which I came was their logo up at the top of the intitial report page.
By this date I found out that there is a new website for the elusive Morningstar Entertainment at
Based on results, it's a very unstable site, but they do have a dedicated "page" regarding the Statue of Liberty documentary along with the following blurb:

.... Morningstar was further honored when their "Statue of Liberty: Building A Colossus" was nominated for the prestigious George Foster Peabody Award. Called the "definitive program on the Statue of Liberty" by no less than the former curator of the great monument, this television program is now in the permanent collection of the Museum of Broadcasting.

Also on which at the time was a QuickTime clip from the documentary. The unstable site page would not come up well on my roommate's computer, and my then-new computer system did not yet have QuickTime installed, so I did not yet know as to how long and/or which clip(s?) would entail the selection. You'd think they'd have made it at least available for purchase as with some of their other projects. And I still never received my contractually promised copy of the finished product!

January 28, 2009
Still no DVD
For no good reason I rechecked out and found entering from one direction rendered the site unviewable, but the link here seems to work. I was even able to download the .mov clip, which is merely the introduction to the documentary. But nowhere does a DVD exist for the documentary even one that could be purchased or Netflixed.

Frame grabs from the recorded TLC airing: click on image to enlarge.
Geoffrey Gould as Edouard-Rene de Laboulaye in the dinner scene Geoffrey Gould as Edouard-Rene de Laboulaye in the dinner scene Geoffrey Gould as Edouard-Rene de Laboulaye in the dinner scene Geoffrey Gould as Edouard-Rene de Laboulaye in the dinner scene
Geoffrey Gould as Edouard-Rene de Laboulaye toasting in the dinner scene 'I couldn't understand a bloody word you were saying....' Geoffrey Gould as Laboulaye with Morgan Davidson (as Auguste Bartholdi) in his studio Geoffrey Gould as Laboulaye when documentary mentions Laboulaye's death

Sunday June 24, 2012
During my live weekly radio show (The Paranormal View, which I'd started co-hosting in January 2011), I brought up this documentary, which my co-host Kat Klockow indicated actually having seen. As it had been a while, I did an online search to see if it might somehow be viewable on youtube or such... and discovered it was available on DVD, along with other various documentaries, as well as schoolroom type films. I did notice on the back cover-art the third photo is of me and Morgan Davidson.
The page did not indicate its price, only international shipping costs. I emailed Chip Taylor inquiring as to the cost, and indicating my having worked on the program. Chip replied that he would send out a copy, and, fascinated with my "Badger" moniker, and being a writer/producer, Chip inquired as to whether I'd be open to doing the voice-over for a children's story (or a series of stories), featuring a badger, just thinking off the top of his head, he said.
Understandably, I agreed to the idea should it come to fruition, and looked forward to the DVD copy.

Click on graphic for full image/detail
''Statue of Liberty: Building of a Colossus'' dvd cover
Statue of Liberty: Building of a Colossus

Sunday July 05, 2014
Return of Lady Liberty
My friend Christina Yoo contacted me and asked about whether it was me, her having come across and seen a bit of it on the American Hero Channel, aka the Military Channel. I had completely forgotten this year to see if it would be airing, as there had been a year or three during which it hadn't.
I never did hear back from Chip Taylor...

Back to TV Reports Index | Back to Reports Index site created February 29, 2008

All Rights Reserved Without Prejudice UCC 1-308
All Rights Reserved Without Prejudice CCC § 1207

Copyright © 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016

Anti Spam Blocker : Helping Fight Spam Email!