Skip to main content

‘Totally fresh and weird’: Marshall Brickman on Jersey Boys, Dylan and Woody Allen

He wrote gags for The Tonight Show, won an Oscar for Annie Hall – and had a near-miss with the Manson family. As his musical Jersey Boys returns, the writer looks back on 82 years of sex, drugs and jokes

“When you describe it like that,” says Marshall Brickman, “it sounds like I’ve never been able to stick with anything I like!” I had given Brickman a quick run-through of his career highs, from scoring hits with folk band the Tarriers in the 60s, moving into comedy to become head writer on The Tonight Show with Johnny Carson, then winning an Oscar as co-writer of Annie Hall in the 70s, followed by a Tony in 2006 for co-writing the musical Jersey Boys. “My life,” he says, “is no example of how to plan a creative life whatsoever. My only philosophy is that I pick projects where I don’t mind having lunch with the people.”

When he was first approached to write Jersey Boys, based on the life of Frankie Valli and the Four Seasons, Brickman turned it down. He only changed his mind when he met founding member Bob Gaudio, who told him about their colourful lives, which featured petty crime and encounters with the m afia. “They regaled me with all these stories, many of which were included in the libretto – and then I listened to their music.”

Continue reading...

from Culture | The Guardian https://ift.tt/3rEkd0D

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...