And...scene! -- Saturday Night You Bull Sessions

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Date Posted: 23:11:37 06/25/04 Fri
Author: Hillary
Subject: And...scene!
In reply to: Hillary 's message, "WU" on 19:18:06 06/22/04 Tue

Talk Show in an Elevator: I like the concept of accosting people in an elevator a lot. Otis is a potential recurring character: sharp, shameless, and yet somewhat oblivious. At the end of the first interview, the �pink slip� thing is hard to follow. (It looks like it�s supposed to be an absurd metaphor (�pink slip� being a notice of dismissal, am I right?), but I still feel like there�s something I�m not getting. The interchange between Otis and the second man is clever. ��Or.. is that me?� A little strange. Again, I feel like I was missing something, but looking at it again, maybe not. Finally, I�m not sure if you intended the sketch to end on a slightly sad note, but the remark about digging through the dumpster for food seems more sad than funny to me. However, if delivered a certain way, it could be more of a tragically comic thing.
�Well, I don't mean to violate your personal space, but we are in an elevator. If you wanted a moment of quiet reflection, then you should have taken the stairs!�
�So your answer would have to be the swallow.�

Agree To Disagree: The �Georgie� thing seems to break the seriousness too early. I feel this situation would have worked better starting off very serious to setup for a surprise. (Sort of like the Al Gore/Howard Dean sketch on SNL this year, although obviously the two characters are very different.)
Once Moore starts talking, it confuses me as to what exactly is supposed to be going on. First it sounded like Bush would make some sort of statement about Michael Moore�but then Moore starts talking�at the beginning it calls itself a �special presentation.� They don�t seem to be presenting anything. You have to find a reason for these two people to be in the same room, considering who they are. If it was supposed to be Michael Moore stating that he has nothing against Bush, then he should start talking, rather than Bush. If it was about Bush liking the movie, then he should start.
�Mr. President, everyone my film did in fact, die.� Huh? I haven�t seen Fahrenheit 911, but since Michael Moore interviews people in his films, and films lots of different things (as opposed to only footage of 9/11) then that�s a very incorrect statement. (Besides, the people who did run away from the buildings didn�t die.)
The ending seems choppy. And the whole thing with Cheney puts the scene into a more private meeting kind of scenario�but at the end we�re reminded that �this was a message�� etc.
�Mr. Moore understand when I say this, believe you me, when are you a filmmaker, people are going to question your tactics when making films.�

His Folks: Try to remember to cast next time. It may seem like a minor thing, but it can actually be very important. (And sometimes you have to make sure there are enough actresses to play all the girls.) The dead cat bit is a great way to kick off the craziness. But once the Beatles thing starts�you didn�t underline the songs (perhaps you didn�t use HTML?) If this was being performed, we�d be able to tell what the songs were, of course�so I can�t give you much help on the dialogue, since I�m sure much of it is crafted in order to include the song titles. (I�m impressed, they have a LOT of songs�you must be a devoted fan to know them all.) It�s great when Jesus actually comes in (and the Strange Man appears again to accost him) but you don�t say exactly where they go once they�ve said their lines. I�m not so sure about using stock footage for a geyser. I think it would be better to have some kind of hole in the floor and just stick a powerful hose under it. That way, you stay in the scene, and it would be great to see a geyser just erupt from the floor. All in all, great use of absurdity and repetition. But it�s so packed with stuff, I guess I�m having difficulty visualizing how it would all work together. BTW: Watch the grammar, etc. But a lot of us could work on that...and proofreading�(/anal retentivity)
�Well, we�ll throw it in the oven then.�
�Oh yeah. This is my brother, Bruno. He�s so ugly we have to keep him locked up in the attic. I don�t know how he escaped.�

Corporate Diva: It�s good that even though this sketch has a lot of characters, few of them seem menial. And good for you for using real Spanish (although it looks like something went wrong in the second housekeeper�s line.) Seems like a lot of the humor would depend on expression, timing, action�as I said before, try to remember to cast. I think it would be particularly important for this sketch. Short, but pretty good. Nice ending.
�So what time are you two going to retire?�

Anderson Cooper 360: Either this doesn�t make any sense or this is based on something that I know nothing about.
��it�s Marc Anthony! Come on down, it�s your turn to tap that ass!�

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