The definitive account of the first thirty years of Monty Python, in the words of the Pythons themselves -- John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin. "Gilliam is one of the most manipulative bastards in that group of manipulative bastards. Michael is a selfish bastard, Cleese a control freak, Jonesy is shagged out and ...
The definitive account of the first thirty years of Monty Python, in the words of the Pythons themselves -- John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin. "Gilliam is one of the most manipulative bastards in that group of manipulative bastards. Michael is a selfish bastard, Cleese a control freak, Jonesy is shagged out and now forgets everything, and Graham as you know is still dead. I am the only real nice one!" Eric Idle From the Dead Parrot sketch to The Holy Grail, from Spam to Conquistador Instant Leprosy, from the Judean People's Front to the People's Front of Judea, these are the some of the biggest cults of the last thirty years (nudge nudge, wink wink, say no more). Last year David Morgan extensively interviewed the group and those around them -- including Douglas Adams and Graham Chapman's partner, David Sherlock -- to create the ultimate record of Britain's most revolutionary and successful comedy act. Packed with rare and never-before-seen photographs, and told with all the group's customary wit and irreverence (and spam), this is the inside story of a comedy phenomenon.
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Publishers Weekly, 1999-03-15 The Pythons and several key colleagues look back in a broad retrospective, presented in oral history format, that begins just before the 1969 premiere of Monty Python's Flying Circus, the landmark TV series, and follows the story into the troupe's movie years and beyond. More than anything else, the book reveals that the blend of anarchic themes, unconventional show structure and chaotic pace that defined Flying Circus was not the product of madcap rebels, but rather the result of hard work by ambitious craftsmen determined to reinvent a form. Fans will be disappointed to find few intimate looks at specific shows and skits. Comparisons of the Pythons' philosophical differences and writing styles are handled in broad strokes. Not until the discussion of the group's film work (Monty Python and the Holy Grail, Life of Brian, The Meaning of Life) will readers encounter specific accounts of clashing artistic attitudes: for instance, how an actor's director (Terry Jones) views production differently than a cinematographer's director (Gilliam), and how the other writers and actors (especially John Cleese) absolutely hated the tedious process of filming. By the time Morgan is done with Life of Brian, the philosophical battles are over, and the discussion consists of good and bad business decisions. Although the book is redundant at times, such clever mates can't help offering some insightful and entertaining perspectives on comedy writing, television and film. (May)
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