Steven Spielberg’s Obama, Starring Daniel Day Lewis as the President

Sarah Palin did­n’t like the 2013 White House Cor­re­spon­dents’ Din­ner. In a cranky tweet, she wrote: “That #WHCD was pathet­ic. The rest of Amer­i­ca is out there work­ing our ass­es off while these DC ass­clowns throw them­selves a #nerd­prom.” But I have to dis­agree with Amer­i­ca’s most dis­tin­guished half-term gov­er­nor. Some­where in Wash­ing­ton, a hard-work­ing writer imag­ined Barack Oba­ma play­ing Daniel Day Lewis play­ing Barack Oba­ma and had the gump­tion to fol­low the joke entire­ly through. Who­ev­er’s respon­si­ble for real­iz­ing that com­ic moment, we salute you.

Spiel­berg’s Oba­ma aired dur­ing the Cor­re­spon­dents’ Din­ner. You can watch Conan O’Brien’s full com­e­dy rou­tine at the WHCD here.

Relat­ed Con­tent:

Steven Spiel­berg on the Genius of Stan­ley Kubrick

Watch Steven Spielberg’s Debut: Two Films He Direct­ed as a Teenag­er

525 Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, etc.

Inside Break­ing Bad: Watch Conan O’Brien’s Extend­ed Inter­view with the Show’s Cast and Cre­ator

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Woody Allen Amuses Himself by Giving Untruthful Answers in Unaired 1971 TV Interview

Celebri­ties tire of giv­ing inter­views. I’ve learned this by spend­ing most of my career con­duct­ing inter­views myself, and thus des­per­ate­ly try­ing to mas­ter ask­ing the ques­tions that wake up a weary inter­vie­wee, get­ting them engaged enough to cast aside the boil­er­plate and speak like a con­vers­ing human being. But what about the celebri­ties them­selves? What can they do to spice up their expe­ri­ence? In 1971, the oft-inter­viewed Woody Allen sat down with Grana­da Tele­vi­sion and took a bold move to keep things inter­est­ing, appar­ent­ly chal­leng­ing him­self to reply to each ques­tion as untruth­ful­ly as pos­si­ble. Though the con­ver­sa­tion nev­er aired, Allen did man­age to keep up the rou­tine for quite some time, and you can watch near­ly forty min­utes of it in the clip above.

The inter­view­er asks Allen for a syn­op­sis of his new pic­ture. “It’s a dra­ma about human emo­tion in the Unit­ed States,” the direc­tor flat­ly replies. “It deals with the tragedy of divorce as it relates to the chil­dren and those who have to suf­fer con­tin­u­al­ly from the effects of an unhap­py home.” So it con­tains no com­e­dy what­so­ev­er, then? “No, I try and keep as much com­e­dy out of my films as pos­si­ble.” The film osten­si­bly under dis­cus­sion: Bananas. Asked ques­tion after broad, brief ques­tion, Allen lobs back ever dri­er and more implau­si­ble fab­ri­ca­tions. His ded­i­cat­ed fans, though, will notice that he does slip in a fac­tu­al state­ment. Asked if he watch­es his own films, he says no; and indeed, he famous­ly nev­er looks back at past work. The increas­ing­ly ner­vous-sound­ing inter­view­er (who may be in on the joke?) asks why. “Because I don’t have the patience to sit through them.”

h/t @lit_hum

Relat­ed con­tent:

Woody Allen Answers 12 Uncon­ven­tion­al Ques­tions He Has Nev­er Been Asked Before

Meetin’ WA: Jean-Luc Godard Meets Woody Allen in 26 Minute Film

Woody Allen Lives the “Deli­cious Life” in Ear­ly-80s Japan­ese Com­mer­cials

Woody Allen Box­es a Kan­ga­roo, 1966

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

John Belushi and Dan Aykroyd Get Brian Wilson Out of Bed and Force Him to Go Surfing, 1976

There are cer­tain leg­ends sur­round­ing Bri­an Wil­son, the trou­bled genius behind the Beach Boys. One is that he hates going to the beach. He nev­er went surf­ing, even though he wrote clas­sic songs like “Surfer Girl,” “Surfin’ Safari,” and “Surfin’ USA.” Anoth­er is that he basi­cal­ly stayed in bed for two or three years in the ear­ly 1970s, weight­ed down by drugs and depres­sion.

In this clas­sic com­e­dy sketch from the sum­mer of 1976, John Belushi and Dan Aykroyd play a pair of Cal­i­for­nia High­way Patrol offi­cers who burst into the bed­room of Wilson’s Bel Air home and force the reclu­sive musi­cian to get up and go surf­ing. “Bri­an,” says Aykroyd, “we have a cita­tion here for you sir under Sec­tion 936A of the Cal­i­for­nia Catch a Wave Statute. Bri­an, you’re in vio­la­tion of Para­graph 12: fail­ing to surf, neglect­ing to use a state beach for surf­ing pur­pos­es, and oth­er­wise avoid­ing surf­boards, surf­ing and surf.”

The scene is from the NBC tele­vi­sion spe­cial It’s OK, which was pro­duced by Sat­ur­day Night Live cre­ator Lorne Michaels dur­ing the break between SNL’s first and sec­ond sea­sons. It was direct­ed by the show’s res­i­dent flm­mak­er Gary Weis. The one-hour spe­cial was orga­nized to cel­e­brate the Beach Boys’ 15th anniver­sary and to pro­mote their album, 15 Big Ones. Wil­son had just rejoined the group, and the spe­cial was part of the “Bri­an’s Back” pub­lic­i­ty cam­paign. The pro­gram, which is cur­rent­ly avail­able on Euro­pean-for­mat­ted DVD as The Beach Boys: Good Vibra­tions Tour,  includes an inter­view of Wil­son in bed, comedic scenes of band mem­bers doing off­beat things, and live footage from a July 3, 1976 Beach Boys con­cert at Ana­heim Sta­di­um. In the two inter­cut scenes above, Mike Love leads the Beach Boys onstage in a per­for­mance of “Surfin’ USA” as Wil­son is forced into the ocean in his bath robe. “Okay, Mr. Wil­son,” says Aykroyd. “Here’s your wave.”

via Dan­ger­ous Minds

Relat­ed Con­tent:

The Mak­ing of The Beach Boys’ Pet Sounds: A Video Break­down

Leonard Bern­stein Demys­ti­fies the Rock Rev­o­lu­tion for Curi­ous (if Square) Grown-Ups in 1967

John Belushi’s Impro­vised Screen Test for Sat­ur­day Night Live (1975)

The Mak­ing of The Blues Broth­ers: When Belushi and Aykroyd Went on a Mis­sion for Com­e­dy & Music

Watch Them Watch Us: A History of Breaking the “Fourth Wall” in Film

Remem­ber that scene in Nashville, when Kei­th Car­ra­dine sings “I’m Easy,” and every woman in the club thinks he’s speak­ing direct­ly to her?

Break­ing the fourth wall—also known as direct address—can have the same effect on a film­go­ing audi­ence. The com­pi­la­tion video above makes it clear that actors love it too. Break­ing from con­ven­tion can tele­graph an unim­peach­able cool, à la John Cusack in High Fideli­ty, or afford a vet­er­an scenery chew­er like Samuel L. Jack­son the oppor­tu­ni­ty to turn the hog loose. It’s most often deployed in the ser­vice of com­e­dy, but a stone-cold killer can make the audi­ence com­plic­it with a wink.

Screen­writer and jour­nal­ist Leigh Singer pulled footage from 54 films for this mash up, and freely admits that time con­straints left some favorites on the cut­ting room floor. What would you add, if you hap­pened to have Mar­shall McLuhan right here?

Relat­ed Con­tent:

Artist Rob­bie Cooper’s Video Project Immer­sion Stares Back at Gamers and YouTu­bers

The Film Before the Film: An Intro­duc­tion to the His­to­ry of Title Sequences in 10 Min­utes

Sig­na­ture Shots from the Films of Stan­ley Kubrick: One-Point Per­spec­tive

Ayun Hal­l­i­day is that rare Gen­er­a­tion X‑er who did­n’t see Fer­ris Bueller’s Day Off until 2013. Fol­low her @AyunHalliday

The Surreal Short Films of Louis C.K., 1993–1999

To some fans of his not-exact­ly-a-sit­com Louie, Louis C.K. sim­ply appeared a few years ago, ful­ly formed and acclaimed by his peers as per­haps the most skilled, ded­i­cat­ed comedic crafts­men work­ing today. But he does have a past, stretch­ing back well beyond his voice role on the ani­mat­ed series Home Movies and his direc­tion of the film Pootie Tang, and he has offered up enter­tain­ing frag­ments of it online. Above you’ll find his ear­li­est known short film, Ice Cream. Begin watch­ing this black-and-white med­i­ta­tion on the vagaries of dis­af­fect­ed twen­tysome­thing love in the nineties — one which opens in a con­ve­nient store, no less — and you’ll imme­di­ate­ly think of Kevin Smith’s Clerks. But C.K. made Ice Cream in 1993, the year before Clerks came out, and it tilts in direc­tions even Smith would­n’t dare pre­dict, ulti­mate­ly arriv­ing at a mari­achi band-scored finale.

Just above, we have 1998’s Hel­lo There. In four min­utes, the film fol­lows a cata­ton­ic-look­ing fel­low (played by come­di­an Ron Lynch) wear­ing a poor­ly fit­ting suit and a cas­sette recorder around his neck as he makes his way through town. “Excuse me,” his machine says when he press­es its play but­ton, “do you have the cor­rect time?” A bystander ner­vous­ly answers. “Hel­lo there,” his speak­er blares to a bum doz­ing in a card­board box, “is that a new hat? You are a good guy.”

As the morn­ing con­tin­ues, we come to under­stand that this eccen­tric is not the only one of his kind. Below you can watch that same year’s Brunch, which throws the ver­bal­ly NSFW come­di­an Rick Shapiro into a sharply observed mid-morn­ing hud­dle of pon­tif­i­cat­ing senior cit­i­zens. These all come from Louis C.K.s offi­cial Youtube chan­nel, and indeed, C.K. pre­scient­ly made them in a form neat­ly suit­ed to the Youtube era, just as Louie has proven an ide­al artis­tic, intel­lec­tu­al, and finan­cial fit for the mod­ern cable tele­vi­sion land­scape.

Louis C.K.‘s short films: Ice Cream (1993), The Let­ter V (1998), The Leg­end of Willie Brown (1998), Ugly Revenge, Hijack­er (1998), Hel­lo There (1998), Brunch (1998), Per­sona Ne’ll Aqua (1999),Search­ing for Nixon

(via Metafil­ter)

Relat­ed Con­tent:

Sein­feld, Louis C.K., Chris Rock, and Ricky Ger­vais Dis­sect the Craft of Com­e­dy (NSFW)

How the Great George Car­lin Showed Louis CK the Way to Suc­cess (NSFW)

David Lynch Teach­es Louis C.K. How to Host The David Let­ter­man Show

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

Friedrich Nietzsche & Existentialism Explained to Five-Year-Olds (in Comical Video by Reddit)

Who’s ready for a les­son on “Eggsalent­lal­ism?” How about “Exa­ten­talum?” Sound like fun? Great! Pull up a tiny chair, grab a toy, and get ready to have Niet­zsche explained like you’re five with “Explain Like I’m Five: Exis­ten­tial­ism and Friederich Niet­zsche.” A web series inspired by a sub­red­dit, “Explain Like I’m Five” has explained oth­er com­pli­cat­ed sub­jects to five year-olds, includ­ing the cri­sis in Syr­ia and the volatil­i­ty of the stock mar­ket. In this episode, our two pre­sen­ters prime their stu­dents for a dis­cus­sion on slave moral­i­ty with the ques­tion “who here thinks they’re a good boy or a good girl?”

All the kids eager­ly raise their hands, and after some Socrat­ic dia­logue are told that Exis­ten­tial­ism means “there is no uni­ver­sal moral­i­ty that gov­erns all of us.” I’ll leave it to the philoso­phers out there to assess this def­i­n­i­tion. The kids don’t respond well. They hate Niet­zsche. One vocif­er­ous young crit­ic pro­pos­es toss­ing him on the street and step­ping on him. Like good 19th cen­tu­ry Ger­man burghers, they can’t imag­ine a world with­out rules. I imag­ine these kids’ par­ents would also like to toss Niet­zsche in the street when their angels come home para­phras­ing Beyond Good and Evil.

Some of the pop­u­lar respons­es to Niet­zsche among adults can also be over­ly emo­tion­al. First there is fear: of the sup­posed nihilist who pro­claimed the death of God and who—thanks to the machi­na­tions of his unscrupu­lous and anti-Semit­ic sis­ter—became erro­neous­ly asso­ci­at­ed with Nazi ide­ol­o­gy after his death. Then there’s the enthu­si­as­tic embrace of Nietzsche’s work by unso­phis­ti­cat­ed read­ers who see him only as an anti­estab­lish­ment roman­tic rebel, hell­bent on under­min­ing all author­i­ty. Some of these impres­sions are valid as far as they go, but they tend to stop with the style and leave out the sub­stance.

What peo­ple tend to miss are Nietzsche’s sus­tained defense of a prag­mat­ic nat­u­ral­ism and his trag­ic embrace of indi­vid­ual human free­dom, which is not won with­out great per­son­al cost. The unusu­al thing about Exis­ten­tial­ism is that it’s a phi­los­o­phy so broad, or so gen­er­ous, it can include the anti-Chris­t­ian Niet­zsche, rad­i­cal­ly Chris­t­ian Kierkegaard, and the Marx­ist Sartre. A more seri­ous treat­ment of the subject—1999 three-part BBC doc­u­men­tary series “Human All Too Human”—also includes Mar­tin Hei­deg­ger, who actu­al­ly did truck with Nazi ide­ol­o­gy. The series, which pro­files Niet­zsche, Hei­deg­ger, and Sartre, begins with the Niet­zsche doc below (this one with Por­tuguese sub­ti­tles).

If you’re new to Niet­zsche, and not actu­al­ly a five-year-old, it’s worth an hour of your time. Then maybe head on over to our col­lec­tion of ven­er­a­ble Prince­ton pro­fes­sor Wal­ter Kaufmann’s lec­tures on Niet­zsche, Kierkegaard, and Sartre. For addi­tion­al seri­ous resources, Dr. Gre­go­ry B. Sadler has an exten­sive YouTube lec­ture series on Niet­zsche, Exis­ten­tial­ism, and oth­er philo­soph­i­cal top­ics. And if all you want is anoth­er good chuck­le at Nietzsche’s expense, check out Ricky Ger­vais’ take on the woe­ful­ly mis­un­der­stood philoso­pher.

Relat­ed Con­tent:

Exis­ten­tial­ism with Hubert Drey­fus: Four Free Phi­los­o­phy Cours­es

The Exis­ten­tial Star Wars: Sartre Meets Darth Vad­er

The Dead Authors Pod­cast: H.G. Wells Com­i­cal­ly Revives Lit­er­ary Greats with His Time Machine

Find Many Clas­sic Works by Niet­zsche in our Free eBooks Col­lec­tion

Josh Jones is a writer and musi­cian based in Wash­ing­ton, DC. Fol­low him @jdmagness

Anne Bancroft and Mel Brooks Sing “Sweet Georgia Brown” Live…and in Polish

The Cap­tain and Tenille. 

Son­ny and Cher.

Shields and Yarnell.

Ban­croft and Brooks?

Not exact­ly, but one thing’s cer­tain. Had mar­ried cou­ple Anne Ban­croft and Mel Brooks under­tak­en to co-host a tele­vi­sion vari­ety show in the 70’s or 80’s, they would’ve mopped up the era’s com­pe­ti­tion faster than you can say Mr Clean Sun­shine Fresh.

Our best evi­dence is this clip from the 1983 Brooks-host­ed episode of the BBC vari­ety hour, An Audi­ence with…  All the tropes of the once pop­u­lar form—the celebri­ty ‘as audi­ence plant, the staged spon­tane­ity, the audi­ence eager­ly fol­low­ing direction—are on dis­play in the lead up to the big pay off, a light-foot­ed live ren­di­tion of Sweet Geor­gia Brown…in heav­i­ly accent­ed Pol­ish.

It def­i­nite­ly leaves one want­i­ng more. (In which case, you could try your luck with Brooks’ remake of To Be or Not to Be, in which he and Ban­croft play roles orig­i­nat­ed by Jack Ben­ny and Car­ole Lom­bard).

Relat­ed Con­tent:

The Crit­ic: Hilar­i­ous Oscar-Win­ning Film Nar­rat­ed by Mel Brooks (1963)

John­ny Cash: Singer, Out­law, and, Briefly, Tele­vi­sion Host

Woody Allen Box­es a Kan­ga­roo, 1966

Ayun Hal­l­i­day’s will be per­form­ing live in Brook­lyn Brain Frame lat­er this month.  Fol­low her @AyunHalliday

John Cleese, Ringo Starr and Peter Sellers Trash Priceless Art (1969)

Here’s a curi­ous scene from the 1969 cult film The Mag­ic Chris­t­ian. In the sto­ry, Peter Sell­ers plays an eccen­tric bil­lion­aire, Sir Guy Grand, who adopts a home­less man, played by Ringo Starr, and sets out to play a series of prac­ti­cal jokes on peo­ple, demon­strat­ing that “every­one has their price.”

Sell­ers and Starr were at the hight of their fame when the movie was made, but John Cleese, who plays a snooty auc­tion direc­tor at Sothe­by’s, was still a few months away from the for­ma­tion of Mon­ty Python. The Mag­ic Chris­t­ian is based on a book of the same name by comedic nov­el­ist Ter­ry South­ern. Cleese and anoth­er future Python mem­ber, Gra­ham Chap­man, co-wrote an ear­ly ver­sion of the script, includ­ing this scene, which was not in the book.

The film was direct­ed by Joseph McGrath and includes an assort­ment of bizarre cameo appear­ances, includ­ing Christo­pher Lee as a vam­pire, Rac­quel Welch as an S&M priest­ess and Yul Bryn­ner as a trans­ves­tite cabaret singer. But per­haps the most endur­ing ele­ment of The Mag­ic Chris­t­ian is the hit song “Come and Get it,” which was writ­ten and pro­duced for the film by Paul McCart­ney and per­formed by Badfin­ger.

You can watch the com­plete film here.

Relat­ed Con­tent:

John Cleese’s Eulo­gy for Gra­ham Chap­man: ‘Good Rid­dance, the Free-Load­ing Bas­tard, I Hope He Fries’

John Cleese, Mon­ty Python Icon, on How to Be Cre­ative

Peter Sell­ers Gives a Quick Demon­stra­tion of British Accents

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