This is a bit longer than the videos I usually post, but it’s a good one. John Cleese hosts this 1979 travelogue spoof which, if memory serves, was Norway’s entry to the Montreux Festival that year. Enjoy.
This is a bit longer than the videos I usually post, but it’s a good one. John Cleese hosts this 1979 travelogue spoof which, if memory serves, was Norway’s entry to the Montreux Festival that year. Enjoy.
This is one of the sketches I may be showing my iO class in the coming weeks. Known variously as “The History of Slapstick,” “The History of the Joke,” “The Custard Pie Sketch,” and probably by a few other names as well, this is probably the oldest sketch that ever made it into any of the Monty Python shows (the runner-up: probably “Four Yorkshiremen”). Written by Terry Jones and, I think, Michael Palin, long before the Pythons ever got together, it was eventually incorporated into the Python stage show, in part because the Pythons wanted to include some sketches that most of their fans hadn’t seen before. We’ll find out in July if they will include it in the O2 shows…
This version is from one of the Amnesty International Benefits. Enjoy.
Here’s another clip I’m using for my iO Chicago writing class (see yesterday). This is a classic, but is also NSFD (not safe for dinner) viewing.
At a workshop I conducted a while back, I asked Terry Jones about the writing of this scene. He revealed that it initially got an unenthusiastic response from the other Pythons, so he put it away. Then, about a month later, John Cleese rang him up and told him that he thought it could be very funny. As Terry put it, “John discovered that the waiter gets all the laughs!”
Enjoy.
Before John Cleese and Graham Chapman wrote the Dead Parrot sketch, they wrote this sketch for a special called “How to Irritate People.” When they started doing Monty Python, Graham Chapman suggested substituting a parrot instead of a car, and the rest is history. But here’s what the original sketch was like.
I’ll be showing this sketch at a writing workshop I’m conducting this week at the iO Theatre in Chicago, and thought I’d give you a peek. Enjoy.
When I was writing about John Cleese’s one-man show during his Canadian tour last fall, I mentioned that he would be performing in Tasmania and Australia in early 2014. And so he is.
Currently, his schedule looks like this:
Sunday-Thursday 16-20 February – Theatre Royal, Hobart
Saturday-Sunday 22-23 February – Albert Hall, Launceston
Tuesday-Saturday 18-22 March – Comedy Theatre, Melbourne
Tuesday 8 April – The Concourse, Chatsworth/Sydney
Ticket sales are brisk, but there are a limited number of tickets for the Tasmanian shows here, and for the Australian shows here.
As 2013 ends, “In Memoriam” lists start to pop up on blogs. I’ve been fairly lucky this year in losing only a few friends, relatives and acquaintances. But, the world lost a comedy genius this year, and I lost a one-time collaborator, when we lost Jonathan Winters.
In the world of improvisation, even among improvisers, Jonathan Winters was too hip for the room. Television, then and now, simply didn’t know what to do with someone so uniquely talented. Pure, raw comedy just oozed out his pores, and film and television executives didn’t know how to contain it or package it in the same way they did it for other stars. He was wonderful in It’s a Mad, Mad, Mad, Mad World and The Loved One, but movies were few and far between. Youtube is full of clips of Jack Paar and other talk show hosts sitting down with him and letting Jonathan be Jonathan. But TV execs could never find a way to use him in a conventional sitcom or variety format, even though they tried (most prominently as Robin Williams’ infant son on Mork and Mindy).
When we were living in Montecito (the rich suburb of Santa Barbara), and I was working for John Cleese, Jonathan Winters was a prominent local resident. I kept my eyes peeled for him, but after a year, I had pretty much given up hope on ever seeing him. But he did do a book signing at a local bookstore, and I joined the line with my then-young son, and listened to him address the gathering.. We got a book and got a photo, and we left, impressed and hoping for more such encounters. Based on the stories we had heard, Jonathan Winters was supposed to be ubiquitous in the Santa Barbara area, but that was the last we saw of him, at least for a while.
When I was growing up, I loved his too-infrequent television appearances and his too-brief TV series. I also owned several of his comedy albums, which were off-the-wall wonderful, and in junior high school, my bit in the school talent show involved lip-synching to a Jonathan Winters album. I loved the guy, and my only regret was that he wasn’t on TV more often.
Finally, on the day we were going back to Illinois for the holidays, I pulled into the parking lot across from our house, and I stepped out to grab a newspaper. “University of Illinois, eh?” I heard someone comment. I turned around and realized that the Great Man had been looking at my license plate holder. I stammered a bit and remembered that he was from Ohio, and a big Ohio State booster. I made a little small talk about their football teams, all the while thinking “I’m talking to Jonathan Winters!”
He looked exactly the way he looked on television, and acted a little like a bored townie hoping to chat. Naturally,I obliged him. I told him we were heading back to Illinois for Christmas, but lived just across the road, and maybe we’d run into each other after I returned.
That was my parting memory of Santa Barbara that year, and I couldn’t wait to get back to see if I could arrange to run into my new–well, acquaintance, at least. I ran into an old classmate while I was back, who asked me what California was like. I said “It’s pretty much the same as Illinois, except when you’re standing in line at the post office and you see somebody who looks like Jonathan Winters, it really is Jonathan Winters.”
Upon our return to Montecito, I made a post office run mid-morning, and in the strip mall where the small local post office was located, I saw a large expensive-looking car parked in the handicapped space outside with the license plate reading JW 1. I swerved into the first parking space available and went in to “buy some stamps,” hoping that what I was doing would not legally constitute stalking. He was indeed standing at the counter, mailing out copies of his recent book. As I had a copy of it at home, I approached him and asked if I could get him to sign it sometime. “Sure,” he said, “can you meet me at the pharmacy at lunchtime?” The pharmacy he referred to was about a minute’s walk away, and was actually a drugstore with an outdoor area that served lunch. Laurie and I decided to eat there, and sure enough, shortly after we arrived, Jonathan Winters arrived. He signed and we chatted–for some reason, we talked sports again, and told him about working for John Cleese. Just before he left, he said “I’ve got an idea I’d like to talk to you about. Can I call you?”
Could he call me? I gave him all of my phone numbers, figuring there was at best a 50-50 chance I’d hear back from him. But a couple of days later, I had stepped away from my desk when the phone rang and the machine kicked in, and I heard his familiar voice leaving a lengthy, hilarious message which I still kick myself for not saving. We arranged another lunch at a nearby cafe.
He discussed a film that he wanted to write with me, a sports-related film. Over several weeks, we made several attempts to break the story, but none of them really succeeded–while I was trying to write a story and a vehicle for Jonathan Winters, he was much more interested in writing a very serious, very dark story. Ultimately, we couldn’t reconcile the approaches. Write something serious for Jonathan Winters? To me, the man sitting across the table was comedy.
There was a dark side to him, make no mistake. He fought–and mostly conquered–many well-publicized demons, and was never shy about talking about any of them. But he channeled the pain into comedy, into laughs like the world had never seen, all improvised.
Eating lunch in public with Jonathan Winters, I found out, was as entertaining as any of his television performances. Sometimes people would recognize and approach him, other times he would notice something someone was wearing or carrying and he would approach them and make a comment. He lived in his own reality, a strange but very funny reality, that he created for each and every person he talked to. He always referred to me as “This is my stepson,” a role I embraced. And, when I initially referred to him as “Jonathan,” he politely corrected me, and I always respectfully referred to him as “Mr. Winters.”
So as 2013 draws to a close, Mr. Winters, I’ll say a last goodbye from your friend. Your collaborator. Your stepson.
I’m always delighted when I can pass along some great news about another Python-related project, following in the wake of the Python Reunion shows in London next summer. I’m even happier when it involves a long gestating project that my pal Terry Jones has been trying to put together for a while. There have been various announcements over the past couple of years, but it looks like it’s official: Terry Jones’ Absolutely Anything is set to begin filming next March in London, with Simon Pegg (Star Trek, The World’s End, Mission Impossible 4) in the lead. There are more details here, but most people here will be especially interested to know that John Cleese, Terry Gilliam, and Michael Palin will be lending their voices to the aliens who give Neil Clarke (Pegg’s character) his magical powers. Robin Williams will be voicing Neil’s dog in the comedy. Terry and Gavin Scott penned the script, and this is going to be great. And, after principal photograph wraps, Terry will be climbing on stage at the O2 Arena in London with the other Pythons. Yes, 2014 should be a good year…
I just realized that I never followed up my earlier post here about the iO Chicago class that I teased a couple of weeks ago. I actually do have a good reason for it, but that’s a pretty lame excuse.
I had long talked about doing a workshop for the Writing Program at the iO Chicago, a workshop based in what I know of the Monty Python approach to sketch comedy writing. (Hey, after sitting across the office from John Cleese for several years, interviewing them all many times, and writing with Terry Jones, some of it had to rub off.) Finally, after substitute teaching a few classes for Michael McCarthy recently, he said “What are you waiting for?”
So, I organized the syllabus and we prepared to schedule and announce it. At which point, I posted my earlier comments about a class of interest at the iO. Then, at the end of the day, the director of the Training Center told me he would announce the class shortly. When I logged on to my Mac the next morning, I was a little surprised to see that it had already filled up!
There didn’t seem to be much point announcing a class that was already sold out, so I didn’t.
But the good news is, it looks like there will be another, expanded class announced very shortly, so if you’re within commuting range of the iO and want to learn how to think like a Python, and learn the art of re-writing and collaborating, check back here. Or, maybe you should check back directly with the iO. By the time I get it posted, I’ll probably be too late again…
Monty Python seems to have take over my blog this week, but I suppose it can’t be helped. After all, this is the first time in 30 years that they’ve performed together. If you tuned in here looking for chatter about improvisation, Mystery Science Theatre/Cinematic Titanic, or anything about comedy in general, things will return to normal soon…
But in the meantime, as I’ve just re-released my second-ever Python book as an e-book, I thought I’d explain how it all came about.
No one was more amazed than I was (unless it was my agent or my publisher) when my first book was released in late 1989. The First 200 Years of Monty Python sold amazingly well. Graham Chapman had passed away a few weeks before, the day before the Pythons had observed their 20th anniversary (in what Terry Jones had called “the worst case of party-pooping I’ve ever heard of”), so perhaps Python was on peoples’ minds more than usual.
And so, my editor and agent both approached me, basically saying “So what else have you got, Python-wise?” The problem was that I had thrown just about everything but the kitchen sink into the first book. John Cleese suggested I write a book on the solo projects of the various Pythons, but my editor and my agent weren’t terribly excited at the idea. I knew that a book like that would take a while to do right, so I tried to come up with an idea for something I could write rather quickly and painlessly. I thought about a quiz book, and I thought about a trivia book. There probably wasn’t enough material for either idea, so I thought I could combine the two and have a very nice, informative volume that I could turn out quickly and easily.
Boy, was I wrong.
I asked the surviving Pythons and they gave me their blessings. Michael Palin gave me a quote that I loved so much I insisted it go on the back cover: “Our forte was trivia.”
But I soon came to realize that if I was going to put together a list of each time one of them appeared as a Gumby, or performed in drag, or named a character Ken or Arthur, I was going to have to go back and watch every show several times, in great detail, stopping and starting the VHS copies that were all that existed then. It was not quick and easy.
But by the time I had finished, I had a compilation of Python data that amazed even me. Of course, it took nearly as long to write as did my first book, but it was well worth it.
It sold respectably well, well enough for my editor to ask for another Python book. And I went on to write a third book, on the solo projects of the Pythons, just as John had very wisely suggested.
But And Now For Something Completely Trivial was allowed to go out of print after that one printing. Seemed kind of a shame, and over the years I always thought it’d be nice to bring it back into print. And so now, over twenty years later, it’s back. If you buy it, I think you’ll enjoy reading it even more than I enjoyed writing it.
In fact, I’m sure of it.
My pal Mark Evanier and I have been trading comments about the Python reunion on our respective blogs. Here’s his latest.
I point this out in particular not because I disagree with him, because I very much agree with him. [Although I do disagree with Mark about something: the Hollywood Bowl shows were Sept. 26-29, 1980, not ’81.]
The Python reunion will inevitably be less of a performance and more of a rock concert, with people showing up to see the legends performing their legendary sketches. John Cleese always talks about how he was unnerved when they first performed the Dead Parrot Sketch live at the City Center in New York, because the audience was so quiet. He thought it has bombed, until he saw the audience members all mouthing the words.
On another occasion, performing the same sketch, Michael Palin had broken his concentration so badly that John had completely forgotten the words. He leaned over into the audience and said “What’s the next line?” And about a dozen people shouted it at him. He began conducting the audience, who knew all the lines as well as he did, for the rest of the sketch. Those are the kinds of moments that will be special for the audiences who see them live.
The guys are trying to satisfy both segments of the audience–those who want a “Greatest Hits” performance, and those who want to see something–well, something completely different. Which may be impossible. But it’s safe to say that there will be new spins on some of the old favorites, as well as some bits that have never been performed live, and several surprises.
A live show had been under serious discussion in 1999, to be held in Las Vegas. The opening number would have featured an over-the-top Vegas-style musical production, with showgirls pushing around Graham Chapman’s coffin. I doubt they’ll be taking the Vegas approach this time, but that gives you an idea of the sort of thinking they’re doing.
One thing is certain: whether audiences are going for the entertainment or the history, they’ll be getting both.
I’ll be posting ticket information here soon, along with some Python book information.
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