Czytaj książkę: «Monty Python Speaks! Revised and Updated Edition: The Complete Oral History»

CONTENTS

COVER

TITLE PAGE

COPYRIGHT

DEDICATION

FOREWORD BY JOHN OLIVER

INTERVIEWEES

INTRODUCTION

PRE-PYTHON

BIRTH

TAKE-OFF

THE PYTHONS THROUGH THE LOOKING GLASS

The Control Freak

Splunge!

The Nice One

The Cheeky One

The Zealous Fanatic

The Monosyllabic Minnesota Farm Boy

The Group Dynamic

AND NOW FOR SOMETHING COMPLETELY … THE SAME?

FEAR AND LOATHING AT THE BBC

MONTY PYTHON AND THE HOLY GRAIL

THE US INVASION BEGINS

THE FOURTH (AND FINAL) SORTIE

CAUGHT IN PYTHON’S ORBIT

LIFE OF BRIAN

FLYING SOLO

THE MEANING OF LIFE

LE MORTE D’ARTHUR

THE ‘IF YOU COULD SAVE ONLY ONE THING YOU’VE PRODUCED’ CHAPTER

TWENTY-FIRST-CENTURY PYTHON

SPAMALOT

DÉJÀ REVUE

EXITING THE STAGE

FINAL THOUGHTS

FOOTNOTES

THE PYTHON OEUVRE

SOURCES

BIBLIOGRAPHY

INDEX

ACKNOWLEDGEMENTS

ABOUT THE AUTHOR

ABOUT THE PUBLISHER

FOREWORD
BY JOHN OLIVER

Writing about the importance of Monty Python is basically pointless. At this point, citing them as an influence is almost redundant. It’s assumed. In fact, from now on it’s probably more efficient to say that comedy writers should have to explicitly state that they don’t owe a significant debt to Monty Python. And if someone does that, they’ll be emphatically wrong.

This strange group of wildly talented, appropriately disrespectful, hugely imaginative, and massively inspirational idiots changed what comedy could be for their generation and for those that followed.

I first discovered Monty Python when I was probably ten years old, and back then it felt like something I shouldn’t be watching. That was already a pretty big appeal. Then I saw Life of Brian in middle school, when a substitute teacher put it on to keep us quiet on a rainy day. I’m not sure he knew exactly what he was showing us, but I’ve always been hugely grateful for the reckless professional mistake he made that day, because I’ve never forgotten how it made me feel.

I think what I’ve always loved about all of Monty Python’s work is that they’ve never been afraid to get into trouble, and Life of Brian is the perfect distillation of that. There was a famous episode of a BBC talk show back in 1979, when John Cleese and Michael Palin were being interviewed alongside the Bishop of Southwark and a writer called Malcom Muggeridge, both of whom were furious about the film. Incidentally, the very name ‘Malcolm Muggeridge’ is so stereotypically English, it’s almost racist. It’s the name of someone who should be looking after the owls at Hogwarts. Anyway, for twenty minutes, Muggeridge told them off like a pair of naughty schoolboys, calling what they’d done a ‘miserable little film,’ ‘a squalid number’ and ‘tenth rate,’ and said it contained laughs that were ‘rather easily procured.’

And while everything he said was titanic nonsense, it was that last part that drove me crazy. Because nothing about what Monty Python did was easy – not their TV show, not their albums, and certainly not Life of Brian. It’s fucking hard to write such incredibly smart, incredibly stupid comedy.

I got to interview all the Pythons after a screening in New York a few years ago. It was total, beautiful chaos. The audience seemed to turn up in reverence of them, but you’re not going to find a group of people less interested in hearing how important they are. So, they took it in turns to try and create mayhem – turning their chairs the wrong way around, walking off stage when they got bored, and sitting with the microphones in their mouths. They treated the evening, each other, and their own legacy terribly, and it felt like a far more meaningful tribute.

That’s why one of the greatest acts of love I’ve seen was the funeral for Graham Chapman. It was a de facto roast. They saw him off in the spirit he would have wanted, with no respect whatsoever. Here’s what John Cleese said about one of his best friends:

‘I guess we’re all thinking how sad it is that a man of such talent, such capability and kindness, of such intelligence should now be so suddenly spirited away at the age of only forty-eight, before he’d achieved many of the things of which he was capable, and before he’d had enough fun. Well, I feel that I should say, “Nonsense. Good riddance to him, the freeloading bastard! I hope he fries. And the reason I think I should say this is, he would never forgive me if I didn’t, if I threw away this opportunity to shock you all on his behalf.”’

With that in mind, I’ll say this to you: Monty Python are a bunch of decaying old men, and they’ll all be dead soon. Their shrivelled testicles will become dust in the wind of history. But people will be laughing hysterically at their work long, long after they’re gone.

I really hope you enjoy this book. After you’re finished, find a ten-year-old who probably shouldn’t have access to it and give it to them. It might change their life.

John Oliver is a stand-up comedian and the host and writer of the Peabody and multi-Emmy Award-winning HBO series Last Week Tonight.

INTERVIEWEES
THE PYTHONS
JOHN CLEESE

Cleese escaped a projected career in law when he accepted a job writing jokes for the BBC. Beside Python, his talent made him a valued presence on radio (I’m Sorry, I’ll Read That Again), TV (The Frost Report, At Last the 1948 Show, and Fawlty Towers), in films (Silverado, A Fish Called Wanda, The World Is Not Enough, and the Shrek series), and in a frighteningly long list of commercials. He also penned the autobiography So, Anyway …

TERRY GILLIAM

Born and raised in Minnesota and Los Angeles, Gilliam’s early career as a magazine illustrator and advertising agency copywriter somehow pointed him towards creating animations for British television. As a director his films away from Python include Time Bandits, Brazil, The Adventures of Baron Munchausen, The Fisher King, Twelve Monkeys, Fear and Loathing in Las Vegas, The Imaginarium of Doctor Parnassus, and, finally, The Man Who Killed Don Quixote. He also directed the operas The Damnation of Faust and Benvenuto Cellini.

ERIC IDLE

A razor-sharp wit with a poison pen, Idle professes to shun acting for writing and yet has acted in a plethora of non-Python projects (Nuns on the Run, Casper, An Alan Smithee Film: Burn Hollywood Burn, Quest for Camelot, and South Park: Bigger, Longer & Uncut). He authored the novel The Road to Mars; a Grammy-nominated children’s story; and the Tony Award–winning musical ‘lovingly ripped off’ from Monty Python and the Holy Grail, Monty Python’s Spamalot.

TERRY JONES

Most likely of the Pythons to appear in drag, Jones is a noted history buff who has written on Chaucer and hosted the documentaries Ancient Inventions, The Crusades, and Barbarians. He also directed Personal Services, Erik the Viking, The Wind in the Willows, and Absolutely Anything; wrote several fanciful children’s books; and has contributed political op-ed columns.

MICHAEL PALIN

The most innocent-looking of the group (and consequently able to play some of the most subversive parts), Palin starred in The Missionary and A Private Function. He has since become a trusty guide for armchair travellers with his globetrotting series, including Around the World in 80 Days, Pole to Pole, Full Circle, Himalaya, and Sahara. He also wrote the novels Hemingway’s Chair and The Truth.

CO-CONSPIRATORS
BARRY TOOK

A veteran television producer and writer, Took’s credits on radio and television include Round the Horne, The Frost Report, and The Marty Show (with Marty Feldman). It was Took who proposed the teaming of the six members that made up Python to the BBC. He did duty in Los Angeles as a producer of Rowan and Martin’s Laugh-In but soon returned to the UK to work as a programming executive, columnist, and comedy writer. (Took died in 2002.)

IAN MACNAUGHTON

A veteran of the BBC’s drama department before being abducted by Light Entertainment and Spike Milligan, MacNaughton was the producer of all of Python’s TV output and director of all but a handful of their shows, as well as the feature And Now for Something Completely Different. He later worked as a television, stage, and opera director out of his home base in Germany. (MacNaughton died in 2002.)

DAVID SHERLOCK

A drama teacher and writer, Sherlock was Graham Chapman’s companion of twenty-three years and witnessed the birth of Python. He also collaborated with Chapman on several projects, including Yellowbeard.

CAROL CLEVELAND

Born in the UK, Cleveland was raised in the United States but pursued acting (both comedic and dramatic) in England. Aside from her Python roles, she has appeared in numerous television series (including The Avengers, The Persuaders, and Are You Being Served?), films (The Return of the Pink Panther), and stage shows (The Glass Menagerie, Dial M for Murder), as well as her own one-woman show, Carol Cleveland Reveals All.

JOHN GOLDSTONE

The executive producer of Monty Python and the Holy Grail, Goldstone was the producer of Life of Brian and The Meaning of Life. He also co-produced quasi-Python projects such as Terry Jones’ The Wind in the Willows.

MARK FORSTATER

A flatmate of Terry Gilliam’s in New York City in the 1960s, Forstater served as producer of Monty Python and the Holy Grail. His other film and TV credits include The Odd Job, The Fantasist, and Grushko.

JULIAN DOYLE

Doyle’s duties as production manager on Holy Grail included staging the Black Knight sequence in East London, locating a Polish engineer in the wilds of Scotland to fashion a cog for a broken camera, and transporting a dead sheep in his van at five o’clock in the morning. He took the more sedate job of editor for Life of Brian and The Meaning of Life. He has also edited Brazil and The Wind in the Willows.

TERRY BEDFORD

Director of photography for Monty Python and the Holy Grail, Bedford also served as DP for Terry Gilliam’s Jabberwocky. He has since become a director for television and commercials, and helmed the feature Slayground.

HOWARD ATHERTON

A fellow alumnus of the London International Film School with Bedford, Doyle, and Forstater, Atherton was camera operator on Holy Grail. He has served as director of photography for such directors as Adrian Lyne (Fatal Attraction, Lolita) and Michael Bay (Bad Boys).

NANCY LEWIS

Python’s New York-based publicist and, later, personal manager during the Seventies and Eighties.

DOUGLAS ADAMS

Not a Python, but an incredible simulation. Before creating The Hitchhiker’s Guide to the Galaxy, Adams collaborated with Graham Chapman in the mid-Seventies, and even contributed a few morsels to Python. He later collaborated with Terry Jones and John Cleese on the video game Starship Titanic. (Adams died in 2001.)

HANK AZARIA

A six-time Emmy Award winner, Azaria has appeared in the Mike Nichols film The Birdcage, Cradle Will Rock, Mystery Men, and Tuesdays with Morrie, and the series Mad About You, Huff, Ray Donovan, and Brockmire. But he is probably best known as the voices of Moe, Chief Wiggum, Apu, Comic Book Guy, and several dozen other characters on The Simpsons. Azaria was a Tony Award nominee for the original Broadway production of Monty Python’s Spamalot.

INTRODUCTION

This revolution was televised.

When the six members of Monty Python embarked on their unique collaboration fifty years ago, they were reacting against what they saw as the staid, predictable formats of other comedy programmes. What they brought to their audience was writing that was both highly intelligent and silly. The shows contained visual humour with a quirky style, and boisterous performances that seemed to celebrate the group’s creative freedom. But what made Monty Python extraordinary from the very beginning was their total lack of predictability, revelling in a stream-of-consciousness display of nonsense, satire, sex, and violence. Throughout their careers they were uncompromising in their work, and consequently made a mark on popular culture – and the pop culture industry – which is still being felt today.

Two of the more revolutionary concepts of Monty Python’s Flying Circus (the BBC Television series which premiered in Britain in 1969 and in the United States five years later) were the lack of a ‘star’ personality (around whom a show might have been constructed), and the absence of a specific formula. Typically, the most popular or influential comic artists in film or television were those who had shaped a powerful persona, either of themselves or of an archetypal character. Charlie Chaplin, Buster Keaton, Harold Lloyd, the Marx Brothers, W. C. Fields, Bob Hope, Woody Allen, and Richard Pryor all worked within a formula in which the comedy would be built around a recognizable character. And while a few experimented with the conventions of motion pictures (such as Allen’s character Alvy Singer breaking the fourth wall while standing in a cinema line in Annie Hall), it was still in support of a comic personality.

Television (and radio) also perpetuated the situation comedy, in which narrative possibilities were limited by being subordinate to the conventions of already-accepted characters, with no deviation allowed. Even Rowan and Martin’s Laugh-In, which was heralded in its time for its fast, freewheeling format, nonetheless had a format, in addition to recurring characters and situations.

Python would have none of that. Apart from a few repeated characterizations such as the Gumbys (irrepressible idiots, which were themselves pretty vaguely drawn), the series’ forty-five episodes marked a constant reinvention. Each production had its own shape, with only rare reminders of what other Python shows were about. There might be a theme to a particular episode’s contents, but even that was a pretty loose excuse for linking sketches together. It was that fluidity of style that made the Pythons seem like a rugby team which kept changing the ground rules and moving the goalposts, and still played a smashing good game – one could barely keep up with them. And even as audiences became more familiar with each Python’s on-screen personality, the six writer/performers were so adaptable and chameleonic that no one ever stood out as the star of the group – the cast was as fluid as the material.

This very flow of action and ideas was the most potent source of humour for Python. The comedy had an inner logic (or illogic) that was not contingent upon generally accepted notions of drama: there was no narrative drive, no three-act structure, and no character development (and in fact, there was often anti-character development, as when the camera turns away from a couple deemed ‘the sort of people to whom nothing extraordinary ever happened’).

As the series progressed, the troupe experimented with doing longer and longer sketches, or (as in ‘Dennis Moore’) creating characters or situations which would reappear at different points throughout the show. By the end, a couple of episodes (‘The Cycling Tour’, ‘Mr Neutron’) were in effect half-hour skits, though their lack of dramatic arc pointed to the fact that separate, disparate sketches were in effect draped over a specific character serving as a linking device.

Monty Python’s Flying Circus never had the tight adherence to form or place that John Cleese’s Fawlty Towers had, and never really told a story, as the Michael Palin and Terry Jones series Ripping Yarns did. What it did have were odd and surreal juxtapositions, a penchant for twisted violence, and a belief that the human condition is, on the whole, pretty absurd.

The films that followed – Monty Python and the Holy Grail, Life of Brian, and The Meaning of Life – demonstrated quite vividly that this stream-of-consciousness approach could be transferred to feature-length films, but the Pythons also showed that they could (when they wanted to) have the discipline to tell an actual story. Brian is a fast-moving, fully formed tale whose comic asides never distract from the central figure’s arc. More importantly, the filmmakers offer some serious social commentary mixed in with the humour, without ever seeming pedantic or boring – a very rare talent.

Python was not about jokes; it was really about a state of mind. It was a way of looking at the world as a place where walking like a contortionist is not only considered normal but is rewarded with government funding; where people speak in anagrams; where highwaymen redistribute wealth in floral currencies; and where BBC newsreaders use arcane hand signals when announcing the day’s events. And as long as the world itself is accepted as being an absurd place, Python will seem right at home. That is why the shows and films remain funny to audiences fifty years after their premiere, even after the routines have been memorized.

Monty Python Speaks! explores the world of the Pythons, who describe in their own words their coming together, their collaboration, their struggles to maintain artistic control over their work, and their efforts to expand themselves creatively in other media. It also documents the stamp they have made on humour; the passion of their fans; and the lasting appeal of their television and film work, books, recordings, and stage shows, in Britain and around the world. It also reveals what is perhaps the definitive meaning of ‘Splunge!’

And now, ‘It’s …’