Albert Brooks appreciation thread

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By the by, the eighth season of "The Simpsons" was released on R1 DVD this week. That's the season that holds the episode "You Only Move Twice", with Albert providing the guest voice of Hank Scorpio, affable and generous boss to Homer, evil genius bent on world domination to the rest of us. Unfortunately Brooks doesn't particpate in the extras, but on the audio commentary track the writers, producers, director and actor who are there are all in awe of Albert's improv abilities. Most of the great lines that made it to the show were not scripted but came from Al, and he gave them a couple hour's worth of material to choose from.

‎"Don't call me Mr. Scorpion. It's Mr. Scorpio, but don't call me that, either. Call me Hank!"

And also a reminder that Looking for Comedy in the Muslim World gets its release in a couple weeks.

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Click the pictures, and a video skit will play. It is photobucket, so safe.

First off, I recently found out that his brother is SuperDave. This being SuperDave . . .



I may be alone on this, but I think he is hilarious.

Now, for what I have, and love . . .

Originally Posted by Holden Pike
From Lost in America...
If you're out in the forest you can point, 'That bird lives in a round stick!' And
you have things over easy with toast!


This is probably my favorite. Although I still need to get my hands on Modern Romance. From what I HAVE seen, the two will come close.

My second favorite is Mother. I just bought this, and thought it was so cute. I love Debbie Reynolds, and they were perfect together, as mother and son. I liked how she was always trying to justify everything in his life, and how he ended up handling it. I also liked how it ended, with all that they discovered about themselves, and each other. I snagged a couple of scenes here . . .




Next are Defending Your Life, and Broadcast News. Both are great stories, and a great cast, to boot. You can't go wrong with Meryl Streep. As far as I am concerned, she is one of the best actresses of all time. Besides, you have to love the ending of this movie. Now, although it has been several years since I last watched Broadcast News, I do remember hating certain choices that Holly Hunter's character made. What was she thinking!?! That's all I will say.

Finally, The Muse. Not a favorite, but I liked it still the same. I have watched it a couple, 2-3 times. I also really like both Jeff Bridges, and Andie MacDowell. They were a nice addition. Sharon Stone is not a favorite of mine, but I thought she did rather well.

Real Life is what I aim to buy next, followed by Looking for Comedy in the Muslim World. I had never heard of either of these, until I saw this thread. It will also be nice to have more of Charles Grodin's work.

That guy looks like a complete idiot.

Now, to figure out what skit he did for this episode of SNL. I have the best of the 70's on through. I am hoping to find it. I am curious.
"Saturday Night Live" (1 episode, 1975)
Episode #1.2 (1975) TV Episode (uncredited)



Now, to figure out what skit he did for this episode of SNL. I have the best of the 70's on through. I am hoping to find it. I am curious.
Albert did six short films for the first season of "SNL". They are all available now in the uncut full first season DVD boxed set. When I get home tonight I'll look up which shorts are in which episode for you.



As some may know, Lorne and NBC were so enamored with Albert that early on in the process they wanted to make Albert Brooks the permanent host. Happily for him and for them, he talked them out of it.

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Albert did six short films for the first season of "SNL". They are all available now in the uncut full first season DVD boxed set. When I get home tonight I'll look up which shorts are in which episode for you.


As some may know, Lorne and NBC were so enamored with Albert that early on in the process they wanted to make Albert Brooks the permanent host. Happily for him and for them, he talked them out of it.

That will be nice. Thank you. I plan to start collecting those this summer.
As far as the permanent host, no I did not know that, and I am not sure I get you. If you mean that they aimed to only ever have one host, and it be Albert Brooks, instead of a different person hosting the show weekly, then yes, as much as I love his work, that would have been a really bad idea.



That will be nice. Thank you. I plan to start collecting those this summer.
As far as the permanent host, no I did not know that, and I am not sure I get you. If you mean that they aimed to only ever have one host, and it be Albert Brooks, instead of a different person hosting the show weekly, then yes, as much as I love his work, that would have been a really bad idea.
Yes, it was going to be "The Albert Brooks Show" with him as host and others around him as regular sketch players. More the format of a variety show like "The Smothers Brothers Comedy Hour", which featured such writers and sometimes performers as Steve Martin, Don "Father Guido Sarducci" Novello and Albert's big brother Bob Einstein. That would have been fine for what it was and may have lasted a few years, but even if the material was brilliant it obviously never would have had the kind of immediate and long-lasting pop cultural impact as what became "NBC's Saturday Night" and then "Saturday Night Live".

So as I say, good for all sides that they went another direction and reinvented the variety show/sketch comedy wheel instead.




"Have you ever gone mad without power? It's boring, nobody listens to you!"

And of course Albert Brooks was back lending his voice to The Simpsons universe once again, this time as the evil EPA official Russ Cargill in The Simpsons Movie.

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Here's a piece from today's New York Times, an interview with Albert centered around the fact that he'll be appearing on Showtime's "Weeds" this season (playing the father of Mary-Louise Parker's first husband)....

Albert Brooks Gives Himself the Business
By JOE RHODES
Published: June 1, 2008

ALBERT BROOKS, who turns 61 in July, hasn’t had a recurring part on a television series since 1970, when he played a guy named Rudy in two episodes of "The Odd Couple". He mostly made movies after that: his own movies, written and directed by Albert Brooks and starring Albert Brooks as a less aware, less competent, more easily flustered versions of Albert Brooks. "The Woody Allen of the West Coast", a critic once called him.

Unless you count the rare talk show appearances promoting his movies and a few pseudo-anonymous voice-overs on "The Simpsons", he has stayed away from TV for most of the last thirty years. But the producers of the Showtime series "Weeds", which returns for its fourth season on June 16th, lured him back.


Albert Brooks, who will appear on four
episodes of “Weeds,” usually acts in his
own movies.


He'll appear in the first four episodes as Lenny Botwin, father-in-law to Nancy, the pot-dealing suburban mom played by Mary-Louise Parker. He portrays an irresponsible, judgmental ne'er-do-well, the kind of part he would never play in an Albert Brooks movie. Which, he explained in an interview with Joe Rhodes at the Beverly Wilshire Hotel in Beverly Hills, is why he's doing it. Excerpts from their conversation follow.

Q. I think a lot of people are surprised to see you turn up in a television series. How did this come about?

A. They called. I like the show, and that was the most important thing. It was really good writing. And the part was something I never played before. The character was different and, even when I do independent films, I sort of look for something that I haven’t played before. But some of the independent movies I've made, they just disappear. I call them David Copperfield productions. And it's frustrating. So I figured, this, at least it’s on eight times a week for a month.

Q. Have you been looking for this kind of work? Not television necessarily, but chances to play other kinds of characters?

A. I love to act, so, yeah. Over the years, because I sort of lived my life making my own movies, and that's what I immersed myself in, I think I turned down so many things that I’m just not put up on the board anymore, you know? I read a review of Iron Man that said, "Jeff Bridges doing his best Albert Brooks", and I haven't seen the movie, so I don't even know what that means, but I thought, "Hey"....

Q. That you could have done the part?

A. Well, sure. I could have done my best Jeff Bridges. I see the billboards for that HBO movie "Recount", and it's filled with the kind of people that I can play in my sleep. I think to myself, 'I should have been first on that list.' So doing something like "Weeds", having that out there, is better than me telling people I'm available. Because people sort of have to be shown. It's not that I don’t get offered things. I got offered a number of network guest spots on television that I didn't feel comfortable with, because I wasn't quite ready to be interrupted by a Ford commercial. I don't know, it felt like too much of a jump.

Q. Is acting where you want to put your energy now? Are you still working on your own projects or would you rather be a hired hand for a while?

A. I definitely have films that I want to do myself. I'm writing right now. I'm on Page 54 — 55 actually — and if I finish this and I raise the money, then I go do it. I can't not do that. But I'd like an excuse to delay that by having one or two great feature film parts. Because if I take myself out of the game for another two or three years, then I'm probably out of it for good. So I would like very much if when I got home today there was an interesting script waiting for me as an actor. I always thought I'd make a very interesting bad guy.

Q. What’s the movie you're writing?

A. I'll try to answer that question without putting real ideas in The New York Times. I certainly am interested in what a real future might look like, you know? Let's just put it this way; all the warnings we're hearing from political candidates, what if some of them actually came true? That, to me, makes an interesting story.

Q. So, now that you're in your 60s ...

A. Sixty. Just 60. I don’t get the "s" yet.

Q. Now that you're 60, do you find your perspective dramatically changed from when you were in your 30s or 40s? Are you less aggravated than you used to be? Less frustrated?

A. I think I get more aggravated. At some things. I haven't become Mary Poppins because I have a wonderful wife and two great kids. What I distrust and worry about, that changes. But my nature doesn't change. Sometimes when I'm down, my wife will say to me: "Look what you have. You have a great family and everything". And it's absolutely true.

Q. So does that mean your ability to roll with the ups and downs of the business has improved?

A. I don't think so. No. You know, I was reading something the other day, an interview with Woody Allen, and I've always been amazed that Woody Allen claims he doesn't care about the business, doesn't know about the business his movies do and doesn't read anything about it. If that's true, that's really amazing. He never tested his movies. He never did any of that. That's a great luxury, you know. I was never able to hide from people letting me know about the business. And for me to have to go out and partake in the same game that Made of Honor has to play in, is tough for me. 'Cause there’s no way I'm going to do well in that group of audiences. It’s like taking the SATs in Spanish for me.

But I don’t want to come off as person who spends my days thinking about the perilous aspects of the business. ... It's not what occupies my day. I'm still most concerned about coming up with the next great idea.

http://www.nytimes.com/2008/06/01/arts/television/01rhodes.html?_r=1&ref=todayspaper&oref=slogin



I always thought I'd make a very interesting bad guy.

I think he'd make a creepy, bad guy. I mean that in a good way, of course. He can get some serious facial expressions going on, when he wants to. I like the serious stare he gives when he is mad at someone. To me, he is having sarcastic thoughts about them.



I always thought I'd make a very interesting bad guy.

I think he'd make a creepy, bad guy. I mean that in a good way, of course. He can get some serious facial expressions going on, when he wants to. I like the serious stare he gives when he is mad at someone. To me, he is having sarcastic thoughts about them.


Well he's been an animated bad guy in "The Simpsons" universe a couple times: Russ Cargill in The Simpsons Movie and the great Hank Scorpio in "You Only Move Twice". But in addition to those, while not the scary heavy, he was certainly a level of bad guy in Soderbergh's Out of Sight, and while his character was too senile to realize what was going on around him he was a kind of villain in Lumet's Critical Care. And though he is redeemed a bit by his affair with Julie Kavner's character in I'll Do Anything, his Joel Silver-like Hollywood producer is a real sh!theel and maybe the closest thing to a true "bad guy" Albert has played.

I don't think he would have been right for the Bridges role in Iron Man, but yeah, given the right material and some inspired casting, there's no reason why he he couldn't pull it off.

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Sad news: Monica Johnson, Albert's longtime writing partner and collaborator on most of his major screenplays, including Lost In America, Modern Romance and Mother, has died.

Monica, who was born Monica Lenore Belson, is the younger sister of Jerry Belson, who started his television career in the '50s and '60s writing for Danny Thomas, Lucille Ball, Joey Bishop, and Dick Van Dyke. He helped develop Neil Simon's "The Odd Couple" for television, and hired his sister Monica to type up scripts. When he realized that she wasn't just typing them up but punching them up, as in adding good jokes of her own, he encouraged her to take up writing full time, and had her write a spec script for [i]"The Mary Tyler Moore Show". She got hired there, started learning the craft, and afterward went to "Laverne & Shirley", where she was also eventually a producer, and also penned a couple of TV movies. Her relationship with Penny Marshall was so good that she warrants special thanks in the credits of both Jumping Jack Flash and Big.

She started partnering with Albert in 1979 on Real Life, and the collaboration remained strong for over two decades. In the '80s, she returned to television for the revolutionary "It's Garry Shandling's Show" and then the short-lived sitcom "Good Sports" starring Ryan O'Neal and Farrah Fawcett. Her non-Brooks screenwriting efforts included the satire Americathon (1979) and Jekyll and Hyde...Together Again (1982). But it is her brilliant work with Albert Brooks that will surely be her eternal epitaph.

She was felled by esophageal cancer at the age of only sixty-four.




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That is awful to hear. She was way too young. I hope she didn't suffer a lot.

I have the bulk of her movies, and I love them. I'm not recognizing Jekyll and Hyde... Together Again (1982). Do you like that movie? If so, I'll Netflix it.

R.I.P.





I don't believe that Jekyll & Hyde...Together Again is currently available on DVD. Americathon was just released as part of the Warner Archives DVD-R program. Jekyll & Hyde has some funny stuff in it, starring Mark Blankfield, who most will probably recognize from his work with Mel Brooks. It's kind of an '80s take on Jerry Lewis' The Nutty Professor, with a sex-charged alter ego from the nerdy scientist. It came out around the same time as Dan Aykroyd's Doctor Detroit, and for my money Jekyll & Hyde...Together Again is probably the slightly better of the two...though neither holds up very well. It's no lost masterpiece, very dated, crude, and sophomoric, to be sure, but definitely has some laughs. It employs a scattershot approach to jokes, like a lot of comedies did in the wake of Airplane!'s success, but nowhere near as effective a ratio of laughs to attempts. It is very different than the brand of low-key character-based comedy she and Albert wrote together.

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Here's Monica's obit from The Los Angeles Times...

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Monica Johnson, Movie and TV Writer, Dies at 64
Her credits include such sitcoms as 'Laverne & Shirley' and 'The
Mary Tyler Moore Show' and such movies as 'Modern Romance'
and 'Lost in America'



By Dennis McLellan

Monica Johnson, a film and television writer best known for her screenwriting partnership with writer-director Albert Brooks on Modern Romance, Lost in America and other comedies starring Brooks, has died. She was sixty-four.

Johnson, a Palm Springs resident, died of esophageal cancer Monday at Cedars-Sinai Medical Center in Los Angeles, said her daughter, Heidi Johnson. The sister of the late comedy writer Jerry Belson, Johnson began her nearly forty-year writing career in the 1970s when she wrote episodes of "The Mary Tyler Moore Show", "Laverne & Shirley" and other TV series.

She first teamed with Brooks to write (with Harry Shearer) Real Life, a 1979 comedy that marked Brooks' feature film directorial debut. Over the next twenty years, Brooks and Johnson co-wrote four other films directed by and starring Brooks: Modern Romance (1981), Lost in America (1985), Mother (1996) and The Muse (1999). They also co-wrote (with Andrew Bergman) The Scout, a Michael Ritchie-directed 1994 comedy starring Brooks and Brendan Fraser.

"Monica Johnson was an extraordinary person," Albert Brooks said in a statement. "Funny, smart, and so much fun to work with. The world has lost a great sense of humor." After "Mother," starring Debbie Reynolds in the title role, won Brooks and Johnson a New York Film Critics Circle Award for best screenplay, a Daily Variety story noted that people were saying: Monica who? "They thought that I didn't exist. I was really Albert Brooks in drag," Johnson told the trade paper. Because Brooks directed and starred in the films they wrote, she said, "he does overshadow everything. In the meantime, I would be this mystery woman. All the press would talk about is Albert." Of her initial meeting with Brooks in the 1970s, she said, "it was just instantly like two peas in a pod. He felt the same way about humor based in reality as I did."

Born in Colorado on February 21, 1946, Johnson was raised in El Centro, Calif. A short bio that she wrote a couple of weeks ago for her website said she went to medical and dental assistants school "with a solid determination to marry a dentist" (further explaining she would have gone for an MD, but had no self-esteem). Her self-written bio continues, "Then she got a lucky break: nepotism. Her brother introduced her to the world of comedy, and she hasn't looked back, except occasionally when she catches her coat in the door." Her brother Jerry, a three-time Emmy Award-winning writer who died of prostate cancer in 2006, was a longtime writing partner of Garry Marshall. The pair developed and were executive producers of TV's "The Odd Couple".

Johnson was a single mother working as a clerk at a social services office in Los Angeles when she began making extra money typing "Odd Couple" scripts for her brother. As Johnson typed, "she'd give the scripts a little punch-up, and he realized how funny his sister was," said Heidi Johnson. "Jerry put her together with writer Marilyn Suzanne Miller to write a spec script for "Mary Tyler Moore"". Johnson went on to write for the sitcoms "The Paul Lynde Show", "Paul Sand in Friends and Lovers" and "Laverne & Shirley", for which she also was a producer.

Penny Marshall, who played Laverne in the hit series, recalled that Johnson and Jerry Belson had "totally different" senses of humor. "He was much more bitter in his humor; he was harsher," Marshall, a longtime close friend of Johnson's, told The Times on Wednesday. "And she was eccentric." Johnson's eccentricity extended to her work attire. "She wore a nightgown a lot to work, and she always had four rollers in her hair," recalled Marshall, explaining: "It was her thing. "She was a unique, unique individual and funny as can be. It's a great loss to comedy."

Johnson later wrote for the TV series "It's Garry Shandling's Show" and was a writer and supervising producer on the 1991 series "Good Sports". She also was one of the writers for the 1979 comedy Americathon and the 1982 Jerry Belson-directed comedy Jekyll and Hyde…Together Again.

Besides her daughter, Johnson is survived by her seventh husband, Charles Lohr; and her brother Gordon Belson. The family is planning a private memorial service.

[email protected]
http://www.latimes.com/news/obituaries/la-me-monica-johnson-20101104,0,488704.story
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will.15's Avatar
Semper Fooey
It's hard to assess how good a writer she was because her most notable work was with Albert Brooks, obviously the dominant writer in the collaboration. Sitcoms are so committee written despite whose name goes on the credit it's hard to know what an individual contributed. She worked on some good shows and not so good. Laverne and Shirley may have been popular, but the writing was terrible.



Today is Albert Brooks' sixty-fourth birthday!




He's also recently published his first novel, 2030: The Real Story of What Happens to America. Here's the notice from The New York Times Book Review...

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A Wry Eye on Problems of the Future

By JANET MASLIN
May 1, 2011

In his most recent film, Looking for Comedy in the Muslim World, Albert Brooks can be seen as a stand-up comic trying to entertain an audience in India. He tells a few jokes. Nobody laughs. He wonders why. Then he has the bright idea that maybe the crowd simply can't follow him. How many people in the auditorium understand English, he asks? Every person in the audience raises a hand.

There you have it: an only slightly exaggerated vision of Mr. Brooks's thankless career on screen. For decades he has been creating, playing and directing characters whose gloom is justified by their failures, despite the great deadpan dialogue they deliver and the groundless optimism to which they cling. A small but loyal audience deems Mr. Brooks brave, brilliant, obsessive, fanatical and pricelessly funny even when he falls flat. A much larger crowd, the Finding Nemo audience, knows him as the cute, fretful voice of an animated fish. He now finds himself courting a new demographic: people who like alarming books.

With 2030 Mr. Brooks has made the nervy move of transposing his worrywart sensibility from film to book. Two things are immediately apparent about his debut novel: that it's as purposeful as it is funny, and that Mr. Brooks has immersed himself deeply in its creation. 2030 is an extrapolation of present-day America into the not-so-distant future, and it is informed by the author's surprisingly serious attention to reality. Unlike the fantasy writer who foresees a gee-whiz future full of alluring gimmicks, Mr. Brooks has dreamed up escapism about problems we cannot escape.

2030 has a large cast of characters, like the Nobel laureate who cured cancer and the American president who will change his country in profound, irreversible ways. It also has frightening prescience. A 9.1 earthquake hits the Pacific Rim, with devastating consequences. The dollar's run as the world's reserve currency is long over. Debt is the era's overriding issue on both the personal and the political levels, because the cancer-free elderly have stopped dying on schedule. The young bitterly resent the old, and the old have good reason to be fearful.

And yet the news isn't all bad. International politics have become much more benign, or at least less savage. Certain businesses, like the creation of fake friends and fake children, have thrived. Tracking devices are so ubiquitous that "you had to make an effort not to know where people were," he writes. And birthday parties have become just awful, now that holographic movies of the celebrator's life have become routine. "It was," he says "like boredom squared."

As a sign of the times the White House has undergone an interesting makeover. It now features historic mid-1950s furniture and an animatronic Abraham Lincoln who greets visitors to the Lincoln Bedroom. This Lincoln can speak and even answer the most awkward questions. When John Wilkes Booth is mentioned, the Lincoln robot is programmed to look puzzled, pause and deliver a laugh line: "I don’t know who that is. Remember, you're talking to me while I’m still alive." This drives tourists wild.

At a leisurely pace that suggests he truly enjoyed spending time in this imaginary future, Brooks assembles characters whose lives will eventually intersect. There is America's first half-Jewish president, Matthew Bernstein, whose mother was Roman Catholic. ("But if you're running for president of the United States, even living on the same street as a Jew makes you one," Mr. Brooks writes.) There is Susanna T. Colbert, the great-looking seventy-year-old former chief executive whom President Bernstein finds irresistible. She is recruited as Treasury secretary because the smart ex-Goldman Sachs guy who held the job insisted on spending a third of the year working from his farm on Nantucket.

There is Brad Miller, an eighty-year-old who had a nice condominium in Los Angeles until that city was flattened by the quake; now he's homeless in a huge tent where the Rose Bowl used to stand, wondering if there is still any such thing as insurance money. There is an attractive youngish Chinese businessman named Shen Li, whose innovative health care business has worked wonders in China, where the elderly are still revered, not resented. There is Kathy Bernard, Mr. Brooks's prime example of all the disaffected young who grow up bearing a huge financial burden. "They were the first ones riding the pendulum back, and they hated it," he writes.

Who elected Mr. Brooks Cassandra? Why should his prophecies be taken seriously, let alone presented as major elements in a halfway serious book? The answers are that his prognostications are not so farfetched for futuristic fiction; that he has worked them into a real novel, not a tricked-up movie treatment; and that a little humor goes a long way in this often bleak genre. "I don't want to be the one to break it to you, but the future ain't that funny," he said in an interview in The New York Times last year. Funny thing: in 2030 it mostly is.

2030: The Real Story of What Happens to America is headed for an epiphany, but Mr. Brooks is in no great rush to get there. He takes time to dote on his characters. He sets up their romances and solves their problems, even finding Kathy a surrogate father figure after her real father dies (and leaves her with crippling medical bills to pay). When the time does come for him to end this story, the strain shows; some events seem abrupt and artificial. The omniscient role of novelist hands him a tougher plotting job than his films have presented. He doesn’t have the pitilessness it requires.

But his comedic voice can still be heard, loud and clear. About President Richard M. Nixon's tape-recorded slurs against gay people and Jews: "My God," he has Bernstein muse, "had Nixon never seen a Broadway show?" About the longevity problem: "What should we do next? Get rid of all the species that live a long and healthy life? Maybe we should kill all the turtles and chop down the redwoods." About an L.A. with a newly Chinese personality: Hey, why does everything smell better? And about "one of the greatest inventions in all of human history": Who thought up the S-shaped rope line?

It gives people the illusion that they’re getting somewhere when they’re not. Mr. Brooks has always seen progress that way.

http://www.nytimes.com/2011/05/02/books/albert-brookss-2030-his-first-novel-review.html
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A system of cells interlinked
Yep, Al's the best. I will have to pick the book up - sounds right up my alley.
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