Beau Derek | animesost.info
It is so squishy in the head you may think it was written and directed by a jellyfish, not by Bo's very own adoring husband, John Derek. Few believed the relationship would last, but they married in Las Naive: Bo with former husband John Derek, who she met when she was Bo Derek and John Corbett have been together for 15 years without ever walking down the aisle, but the couple insisted they don't need rings.
I can't go to comedy clubs unless it's to see a friend. A friend I'll go see, but that's different. People say, "Why don't you go to the clubs here in LA? I have a ninety-foot face on the driveway at the Hollywood Improv. I'm a sandwich at a lot of these comedy clubs. I work on new material whenever I do concerts, or casinos, or club engagements-- I don't need to work out material here in town.
Been there, done that. Even on TV shots I wind up ad-libbing most of them. I have a casino gig in a couple of weeks and then I'll do a nightclub in San Francisco that seats The point is, I will do that same kind of fearless set each night.
I don't need to go to the Improv in L. I started at the NY Improv and love the clubs for that reason, but I don't need to work out on my downtime anymore. When you have to do monologues starting out, then it is very important to work out, but I haven't done monologues since all because of Letterman. He changed my life as a comedian when he got his show. He gave me my first big break He was a big fan and he said, "You know you're a hit and miss standup on Johnny Carson, because you're so physical and for the camera it's not good.
Plus you're just so nuts. You don't ever have to do standup again. You were always spontaneous. I have a lot of material in my head, and like I said, I have about twenty hours of new stuff in my laptop I look at daily, and if something moves me that day or that night, I'll open with it and also ad-lib a lot of my set.
Years ago, starting out, I used to think I had to put everything I loved into a set and rush. Even on TV I rushed to get more jokes in than the time called for. Steve Landesberg, of Barney Miller fame, an old friend, and a wonderful comedian, was at the Improv when I started and he gave me a great tip for TV shots.
He'd say, "Look at that light. Play to the camera. Those are ten million people watching. The studio audience is only three or four hundred. If they happen to laugh, fabulous.
If they applaud, fabulous. If not, smile and move on. You were on Letterman every six weeks or so.
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In the early days, yeah. George Miller, who sadly passed away, might have done a couple more Lettermans than me. Among the living, no one has done more, I don't think-- not that it matters. I've done about sixty-five. It helped me get club dates, which allowed me to pay the bills. I was living hand to mouth in a little apartment. I was running into superstars in airports saying, "Richard you're great, blah, blah, blah. When we started, it was very different. We were a handful by comparison to the number of comics now.
We were a transitional link between the big stars of the fifties and sixties and took the torch and handed it over to the mushrooming amount of comedians of the eighties.
I heard David Brenner gave you great advice about the Tonight Show. He said, "One Tonight Show was like being at the Improv on a Saturday night for a hundred fifty thousand years. I can reach hundreds of thousands of people in a market. And way psyched-up when I'm on television. For people not to take it seriously is foolish. Are there any rumors about you that I don't know? I have bouts of happiness.
You actually sound pretty happy. I'm on top of my house now wearing a dress with a gun to my head. How do you know? I do know that even at your lowest point, your comedy was still important to you. I remember when I bottomed on drugs, I was hole up in my house doing blow for about six days and I was looking at myself and I was disheveled.
I remember David Brenner told me that he had everything just from jokes. I sort of reprised that. I was looking at myself and I was on my way out. I've gotten everything I've gotten-- all the good stuff-- from writing jokes, and I said, "Am I going to just drop dead and lose everything and become homeless or go insane with a disease that I could actually stop?
I was an alcoholic and drug addict. If I just put the cork in the bottle, or didn't buy the cocaine, I had a shot. And that's when I said, "No mas.Bo and John Derek Interview from 1981 on their 46 acre ranch in Santa Ynez, California.
I had no idea you were going through this. Listen, I sold out Carnage Hall in I did two and a half hours. I got two standing ovations. I was a functioning alcoholic in terms of my career. Toward the end, I stopped standup for three years. I had some concerts and some shots on TV and I was bad. I didn't want to burn that bridge because that was all that I had. My life was out of control.
Then I was on the TV show. I knew my part. I got my shit together for two days. I got four days off. I was an active alcoholic and I got terrific reviews. The show lasted four years. I wasn't happy, but I got through it.
I remember at Carnegie Hall, after the show, I got totally obliterated and I had to ask my sister, "Are you sure I got two standing ovations? But for me I did it mostly when I was happy. I didn't feel like I deserved success and, of course, would medicate my anxieties; but of course, problems don't disappear by drinking or drugging them away.
I wake up every day since August 4th, asking to be free of the obsession of alcohol and drugs. So far so good. So what is your day like? I woke up at four AM. I couldn't sleep knowing that I was going to be tortured by you. When I get off the phone, I'm going to work out. Then I'm going to go back to sleep. Then I'm going to go to a few hotels with about ten thousand new premises and look at them. The more I look at them the more confidant I feel on stage. Why do you go to hotels?
I like getting out of the house. I print out about five months of premises, which is about five hours of new material, and I just look at it, underline stuff, and put X's next to things I like. I just keep looking at them, so by the time I hit the stage I remember about a half hour of it.
The other half hour I ad-lib and the other fifteen minutes are things I've been doing, but I never do it the same way. Every show is different. Between shows I go into the green room, remember what I did, and look at my notes and come out of the gate with new stuff. If I laugh when I write it down, then that's all that matters.
And if the audience laughs, it's a bonus. I can't go back and repeat the first set because, if it worked out, I already know it's funny and it bores me to do it again. If I'm going to free associate for 70 minutes, I want to be surprised as much as the audience. And if the audience is with me, I just go wild.
I just keep ad-libbing until it dips. Mostly I don't know what's going to happen. I'm blown over by your ability and the huge risks you take. I'm not the only one who does it. But I do it more than most.
That's why Curb is so great, because Larry writes these remarkable outlines, so all you have to do is be on your game and you'll be funny. Some of the world's great postwar cinema came out of the partnerships between Ingmar Bergman and Liv Ullmann, Federico Fellini and Giulietta Masina, and Roberto Rossellini and Ingrid Bergman, the last of whom had a love story as inspiring and romantic as any of the beautiful movies they made together.
In fact, their daughter Isabella has been wife and artistic inspiration to both Martin Scorsese and David Lynch, which may say something about the hot-cold fission produced by Scandinavian and Italian genes. When you look at the phenomenon closely, it's hard to deny that the issue of power lies at its heart. The director has the tangible power in a movie-making situation, particularly on a location, because he's the boss.
He's quite literally the one calling all the shots. He is also by profession and often by temperament a manipulator of other people and an arranger of scenarios, both of which are necessary and useful skills in a dramatic context, but which become potentially exploitative when applied to the domestic sphere.
Especially if he uses his movie sets as de facto dating agencies The actress, by contrast, will more than likely be a lot younger than her director and, if she's a newcomer, a lot more vulnerable to the blandishments of a strong svengali figure who must suddenly give her his undivided attention, and who after all was probably the person who cast her in the first place come on down Luc Besson and Milla Jovovich: And in the hothouse creative environment of a movie set or some far-flung three-month location shoot, when partners and spouses are far away and the working day can last up to 18 hours, the opportunities for falling into bed, if not in love, are legion.
But the director has his weak points too. As a species, movie directors are a geeky-looking, chinless, pointy-faced lot who've often these days at least wasted their entire adolescence in darkened rooms watching movies and eating junk food. Thus they often lack the requisite social skills to deal in a normal, healthy way with heart-breakingly beautiful young women, the likes of whom they've never encountered before.
Had they not been movie directors, one doubts that Bogdanovich would ever have taken up with Shepherd, or that the nerdy William Friedkin would have married Jeanne Moreau.
If the director is primarily a manipulative force, he may need to beware of meeting his match. Any woman who's grown up cursed as well as blessed by great beauty will learn to know exactly what any look on a man's face means and usually it only means one thingwith the result that she likely knows a man's thoughts better than the poor bovine bastard does himself.
If one compounds that basic skill with, firstly, the ability to act which for man or woman is a literal training in the arts of flattery and deception and secondly, a strategic sense of one's own career trajectory, then the notion of embarking upon what's often euphemised as a "deeply creative collaboration" can seem like a canny move.
It's good for business. His propensity to speak about his sexual experiences prompted Jonathan Miller to describe him as "libidinous, childlike, goatlike - the embodiment of some peculiar mythical satyr". When the revue transferred to London's Fortune Theatre in MayKenneth Tynan called it the moment when "English comedy took its first decisive step into the second half of the 20th century". Moore's contributions were accurate, witty pastiches of classical music.
The show transferred to Broadway; after it completed its run, Moore continued with his trio, and wrote music for the theatre. He had fallen for the model Celia Hammond. When she left him for photographer Terry Donovan, he was devastated, and began psychotherapy.
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But Also, which began in ; a second series followed in and a third in The show's highlights were the Dud 'n' Pete sketches, in which they played proletarian philosophers in cloth caps, dirty raincoats and white scarves swapping undigested pieces of information, with Dudley finding it difficult not to "corpse", as actors say.
Their television fame lead them to make five feature films together, the best being Stanley Donen's Bedazzledan episodic Faustian tale, with Dudley as a lovable little man filled with self-doubt about his height, sex life and personality. Moore was almost 32 when he took on his first solo starring role in 30 Is A Dangerous Age, Cynthia, which, without support from Cook's lofty presence or invention, gave him a chance to demonstrate his ability as a musical pasticheur, and to indulge in romantic wish-fulfilment with his co-star, Suzy Kendall, whom he married in Moore linked up with Cook again for a two-handed review, Behind The Fringe, which opened at the Cambridge Theatre in This had the classic sketch, One Leg Too Few, about a one-legged actor a part that was brazenly tackled by Moore auditioning to play the part of Tarzan.
They married inand had a son. In his first Hollywood movie, Foul Playhe played a would-be swinger picked up by Goldie Hawn in a singles bar. It was merely a comic cameo, but it was the kind of role that gets noticed, and the little Brit managed to be slightly touching, as well as very funny. At a group therapy session, he met Blake Edwards, who cast him in his movie 10, after George Segal walked out of the picture.