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The interesting thing also about cutting it is that we had to cut it for a 90 minute film, it had to forward moving, the ideas had to emerge in the proper ways, we had to have the proper pacing and flow, yet we still had to maintain the integrity of the original performer. Once it actually sounded like what it was supposed to be, I’d turn to Emory and go, “I’m gonna get lunch, you make the picture work.” We wanted to listen to the rhythm of it, the music of it. We actually cut a lot of the comedy with our eyes closed. Emory Emory, who I edited this with, is a terrific editor and also a stand up comedian, so we had a lot of shorthand. How do you take that stuff and make it work? Q: That sounds like an editing nightmare. You look at this stuff non-stop for months on end, it’ll warp you. Provenza: I took a lot of showers and had a lot of fever dreams. He transcribed every word of it himself, and in doing so memorized it, and kind of juggled around that 140 hours until he spit out the 89 minutes that were in the movie. We shot 140 hours and then, if you have any doubt the kind of person you are honored to be in a room with, Paul Provenza went through all 140 hours on his iBook.
PENN JILLETTE INTO THE TRASH IT GOES MOVIE
Jillette: Apparently we didn’t, we shot 140 hours! That’s a ratio that I think is worse than Apocalypse Now, isn’t it, in terms of how much shows up on screen? And we almost killed Harvey Keitel doing this movie as well. Q: How did you know you had enough material? I said I would give my opinions, talk to Provenza, but any time he said, “Ehhh,” the decision would be Provenza’s. I didn’t think that was right for this, so my deal was different here. We work through everything and make sure we agree on everything all the way through. Penn and Teller have a different relationship. Even if we couldn’t articulate what was wrong. I said very early on that any disagreement we had, Provenza would win. I wanted to make sure that there was no doubt that, if push came to shove, it would be one person’s vision and not a compromise and not something else. All a committee could ever agree on was beige. Jillette: I have a strong feeling that one thing that’s wrong with most of the movies I hate is that they’re done by committee. It just seemed like it was a film by the two of us from moment one. Provenza: Penn and I conceived it together and Penn’s sheer artistry and integrity and passion are rife throughout it. Provenza: It was a fist fight.We worked it out by way of sheer force. How does the directorial aspect of this work? Q: The film is directed by Paul, but Penn worked on it as well.
PENN JILLETTE INTO THE TRASH IT GOES FULL
I hope you enjoy it.Īnd by the way, to get the full The Aristocrats experience, check out this filthy, nasty soundboard, with clips from the various tellings of the joke (you can get a glimpse of how brilliant Bob Saget’s version is): Everytime I start to get jaded and bored with the whole thing, I end up at an interview like this one. The stand-up comic and actor (remember his stint on Northern Exposure?) gave Penn plenty of space when he was getting steam built up, but he was always able to get his two cents in as well.Īt this point I’ve done a lot of roundtables and one on ones for CHUD. Paul Provenza managed to hold his own, though. And it’s when you’ve been listening to him talk for a while that you realize why Teller is silent – he has no other option. Penn’s a big guy – I’ve seen him perform with Penn and Teller a couple of times, and had briefly met him, but it’s not until you’re sitting next to him for a half hour and your hand disappears into his (and he grabs his balls and shakes them at you) that you realize how big the guy is.
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The two sat down with some select New York City press on Monday. Paul Provenza and Penn Jillette, who made the film, understood that the reality would transcend the concept, and they have put together a hilarious film that is also a fascinating look at the very nature of comedy and what is funny. The premise is deceptive, and looks rotten on paper: One hundred comedians are filmed performing and discussing the filthiest joke in the world, known as The Aristocrats. Guarantee: You won’t see a film funnier than The Aristocrats released in 2005.