At this morning's panel in the Just For Laughs Montreal Comedy Conference, on "Adult Animation Grows Up," Dino Stamatopoulos, creator and writer of the obscure show "Moral Orel," deftly hijacked the entire panel from the start (which included Dave Willis, co-creator of 'Aqua Teen Hunger Force'), snoring audibly into his microphone as the helpless moderator, Athena Gerogaklis, a Canadian TV animation production manager posed her first question on how all the animation show creators first pitched their ideas.
Stamatopoulos then proceeded to stroll off into the audience with his mike, rambling about a car accident and some other oddities, before getting around to his answer, without failing to note that before pitching, he had been drunk around the pool of the trendy L.A. hotel, the Standard. For all his unkempt appearance, Stamatopoulos did grasp inherently how panel discussions can get dull and sought to shake this one up. He didn't always quite succeed but at least got one laugh with the comment, "That's how DaVinci sold his 'Mona Lisa' show."
Friday, July 24, 2009
Montreal Comedy Festival report
I thought at first I would break these all up into separate blog entries, but it may just end up being multiple stream-of-consciousness entries -- when it comes to covering the non-public business-side events and panels billed as the Just For Laughs Comedy Conference here in Montreal this week, that complement all the evening performances for the industry's participants.
In the first panel today, concerning comedy writing and how changing economics and distribution, especially through the Internet, are affecting how comedy writers do their work, I heard a word used I normally only hear in my other life as a financial industry trade publication journalist, and that is "fragmentation." The industry professionals on this panel, including the writer of "Tropic Thunder" and "Madagascar 2," a producer for the "Sarah Silverman Program," and Tami Sahger, a writer for "30 Rock" and respected improv performer, expressed and explored concerns about "audience fragmentation," as a result of the seemingly infinite choices of cable channels and the Web for comedic entertaiment.
The panelists debated the depth of comedy on video as a result of having to capture and cater to ever shorter attention spans. But they did have kind words for the technological advances' affect on comedy for making it easier for performers to gain exposure by shooting material on their own and on the cheap, just to get it out there.
Running out of steam a little right now, but will likely follow up on this entry with a look at the second panel heard today, which delved further into the Internet's potential as a new frontier for comedy.
In the first panel today, concerning comedy writing and how changing economics and distribution, especially through the Internet, are affecting how comedy writers do their work, I heard a word used I normally only hear in my other life as a financial industry trade publication journalist, and that is "fragmentation." The industry professionals on this panel, including the writer of "Tropic Thunder" and "Madagascar 2," a producer for the "Sarah Silverman Program," and Tami Sahger, a writer for "30 Rock" and respected improv performer, expressed and explored concerns about "audience fragmentation," as a result of the seemingly infinite choices of cable channels and the Web for comedic entertaiment.
The panelists debated the depth of comedy on video as a result of having to capture and cater to ever shorter attention spans. But they did have kind words for the technological advances' affect on comedy for making it easier for performers to gain exposure by shooting material on their own and on the cheap, just to get it out there.
Running out of steam a little right now, but will likely follow up on this entry with a look at the second panel heard today, which delved further into the Internet's potential as a new frontier for comedy.
Sunday, July 12, 2009
H-B-lame-O
Occasionally, passing by all the bills posted on scaffolding around the city, something sinks in as worth checking out. In the past couple weeks, I saw all these intriguing posters touting "ComedyFetish.com." Thinking this was a new comedy site, along the lines of Funny or Die, or SuperDeluxe, I finally got around to checking it out, and was disappointed.
ComedyFetish.com is just a collection of clips from various HBO comedy series, grouped by themes such as "Huge Misunderstandings," "Tantalizing Truths" and "Foreign Exposure." The whole thing is basically just one big promo for HBO series on DVDs, done under the very dishonest bait-and-switch of setting the whole thing up to look like it's new original content. Thumbs down, or 'boo,' or nominate them for Keith Olbermann's "Worst Person in the World" award, or however you want to pan the site.
ComedyFetish.com is just a collection of clips from various HBO comedy series, grouped by themes such as "Huge Misunderstandings," "Tantalizing Truths" and "Foreign Exposure." The whole thing is basically just one big promo for HBO series on DVDs, done under the very dishonest bait-and-switch of setting the whole thing up to look like it's new original content. Thumbs down, or 'boo,' or nominate them for Keith Olbermann's "Worst Person in the World" award, or however you want to pan the site.
Thursday, July 2, 2009
Whatever Works
I can't really put this up as a full review because it's already been out a couple weeks, but I do want to give a quick take on "Whatever Works," the Woody Allen movie starring Larry David, momentous for being a meeting of comedic minds.
I enjoyed a lot of the film, but I have to say, that especially for those who are more fans of David, it really loses steam after the first half, when David's character gets sidelined for awhile as Allen's script gets more into the machinations involving the other characters. This is after David, with his trademark dark comic bile, has thoroughly energized and sparked the movie, especially with a few long rants delivered directly into the camera, speaking purposefully to the audience with a knowing wink.
What could have been a four or five-star movie starts to fall a bit short of that, and closer to the category of being a more minor Woody Allen work, as the focus strays away from David. It turns out to be more of an entertaining experiment and less momentous as a movie than "Vicky Christina Barcelona" or "Match Point," out of Allen's recent films.
I enjoyed a lot of the film, but I have to say, that especially for those who are more fans of David, it really loses steam after the first half, when David's character gets sidelined for awhile as Allen's script gets more into the machinations involving the other characters. This is after David, with his trademark dark comic bile, has thoroughly energized and sparked the movie, especially with a few long rants delivered directly into the camera, speaking purposefully to the audience with a knowing wink.
What could have been a four or five-star movie starts to fall a bit short of that, and closer to the category of being a more minor Woody Allen work, as the focus strays away from David. It turns out to be more of an entertaining experiment and less momentous as a movie than "Vicky Christina Barcelona" or "Match Point," out of Allen's recent films.
Tuesday, June 16, 2009
"The Hangover" for Best Picture
Now this may sound like a joke to you, but I'm throwing my hat in the ring early by saying "The Hangover" deserves to win Best Picture at the Oscars next year.
Here's my argument: Why does it always have to be the multi-hour-long prestige films with serious drama, lofty takes on history or tearjerking dying/misunderstood saint-like character performances that always win these awards? Why can't the Best Picture be a movie that is purely entertaining through and through, and yes, a comedy, and funny?
"The Hangover" had all of this. Yes, it's rude, transgressive, dirty-minded but consistently and constantly surprising and funny all the way through. That's good screenwriting too. In fact, it's probably harder to pull off. [Spoiler alert]: And what other movie are you going to see this year that would have an effeminate naked Asian crime boss pop out of a car trunk and start viciously assaulting the main characters?
And where other comedies may have great dialogue and scenes for about three-quarters of the way, they tend to fall into the last act trap of neatly tying everything up so the nominal hero has everything work out for them. "The Hangover" does have everything working out in a way, but not in the pat way you would expect, maintaining the surprises and the fun right into its closing credits.
So, a memo to the Academy, come nomination time, put aside your Benjamin Buttons, your Sean Penns -- and the need to reward, as Kate Winslet once famously put it on "Extras," "playing a retard" -- and give "The Hangover" its due. I'll bet you won't find a more solid, re-watchable movie in all the high-minded stuff that hits this fall.
Here's my argument: Why does it always have to be the multi-hour-long prestige films with serious drama, lofty takes on history or tearjerking dying/misunderstood saint-like character performances that always win these awards? Why can't the Best Picture be a movie that is purely entertaining through and through, and yes, a comedy, and funny?
"The Hangover" had all of this. Yes, it's rude, transgressive, dirty-minded but consistently and constantly surprising and funny all the way through. That's good screenwriting too. In fact, it's probably harder to pull off. [Spoiler alert]: And what other movie are you going to see this year that would have an effeminate naked Asian crime boss pop out of a car trunk and start viciously assaulting the main characters?
And where other comedies may have great dialogue and scenes for about three-quarters of the way, they tend to fall into the last act trap of neatly tying everything up so the nominal hero has everything work out for them. "The Hangover" does have everything working out in a way, but not in the pat way you would expect, maintaining the surprises and the fun right into its closing credits.
So, a memo to the Academy, come nomination time, put aside your Benjamin Buttons, your Sean Penns -- and the need to reward, as Kate Winslet once famously put it on "Extras," "playing a retard" -- and give "The Hangover" its due. I'll bet you won't find a more solid, re-watchable movie in all the high-minded stuff that hits this fall.
Sunday, June 7, 2009
Forbidden Kiss
Caught the "Forbidden Kiss" erotica series at Stage Left Studios last night, especially because a few of the pieces in it are comedy. One especially notable piece was Brian Longwell's stand-up comedy-type piece, "How Not To Be An Online Dating Loser." Longwell had Cosby-like cadences in his voice -- whether those are affected or just how he naturally talks, it's hard to know. But nonetheless, Longwell had his own persona, presenting hand-drawn slides of flowcharts of how losers and winners navigate the online dating scene.
Another highlight on the bill of eight separate pieces was Katie Northlich's sex therapist character, a manic and brassy bundle of energy, who seemed to revel in being lewd and shocking. Northlich was once profiled on Jester in 2005 for her character showcase show (see http://www.jesterjournal.com/Northlich.htm).
But my favorite piece of the night was The Bitter Poet -- still have to find out his name -- whose electric guitar accompanied heartbreak songs were definitely laugh out loud funny. His closing song of three featured a long John Cale-like half-spoken, half-sung monologue about Marg, an Eastern European lover who meets him for a week in Amsterdam, and how they tour the Rijksmuseum together. Great stuff.
Another highlight on the bill of eight separate pieces was Katie Northlich's sex therapist character, a manic and brassy bundle of energy, who seemed to revel in being lewd and shocking. Northlich was once profiled on Jester in 2005 for her character showcase show (see http://www.jesterjournal.com/Northlich.htm).
But my favorite piece of the night was The Bitter Poet -- still have to find out his name -- whose electric guitar accompanied heartbreak songs were definitely laugh out loud funny. His closing song of three featured a long John Cale-like half-spoken, half-sung monologue about Marg, an Eastern European lover who meets him for a week in Amsterdam, and how they tour the Rijksmuseum together. Great stuff.
Sunday, May 31, 2009
James Ellroy
Didn't think I would get a comedy-related blog item directly out of attending the Book Expo this weekend, but a great moment happened out of going for crime novelist James Ellroy's autograph at his publisher's booth yesterday.
Unlike a lot of the other authors who sign at the convention, Ellroy, by the time I made it up to him in the line, seemed to be conducting an hour-long stand-up act/profane circus barker monologue where signing was beside the point. Gesturing with a twinkle in his eye, he said, "Do you want to hear a joke?" as he invited booth staff and everyone near the head of the line to listen in:
A lion is fucking a zebra in the jungle, and the zebra's husband comes along. 'Quick,' the zebra tells the lion, 'pretend you're killing me.'
A pause settles as everyone realizes that's the drier-than-dry punchline. An apt joke coming from the author of such dark fiction.
Not to knock authors without such animated patter -- grateful that they do sign -- but a close second to Ellroy in booth patter was Elliot Tiber, author of "Taking Woodstock," his true-life story that is the subject of an upcoming movie starrting Demetri Martin. Tiber seemed to have running jokes going with two staff members working in the booth with him, and spying me, asked if I was sure I was over 18 and old enough to be reading what's in the book. "Don't look at page 46!" With a smile, I told him I'd be sure to turn to that page first.
Unlike a lot of the other authors who sign at the convention, Ellroy, by the time I made it up to him in the line, seemed to be conducting an hour-long stand-up act/profane circus barker monologue where signing was beside the point. Gesturing with a twinkle in his eye, he said, "Do you want to hear a joke?" as he invited booth staff and everyone near the head of the line to listen in:
A lion is fucking a zebra in the jungle, and the zebra's husband comes along. 'Quick,' the zebra tells the lion, 'pretend you're killing me.'
A pause settles as everyone realizes that's the drier-than-dry punchline. An apt joke coming from the author of such dark fiction.
Not to knock authors without such animated patter -- grateful that they do sign -- but a close second to Ellroy in booth patter was Elliot Tiber, author of "Taking Woodstock," his true-life story that is the subject of an upcoming movie starrting Demetri Martin. Tiber seemed to have running jokes going with two staff members working in the booth with him, and spying me, asked if I was sure I was over 18 and old enough to be reading what's in the book. "Don't look at page 46!" With a smile, I told him I'd be sure to turn to that page first.
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