“Hey you guys!!!” And at the risk of either being non-inclusive or sexist, “you gals, too”! There’s a new feature-length documentary arriving in theatres this weekend that certainly breaks the preconceived notions of what many consider “film homework”. Yes, there are a considerable amount of “talking heads”, but the movie is far from “dull and dry”. Now, that’s due in large part to the doc’s subject matter (hence all those “talkers” on camera). This is a prime example of this film genre’s popular “subset”, the “show biz” documentary. Last year saw two great entertainment profiles on the Go-Go’s, the Bee Gees, and Natalie Wood. Now, this look at the life and career of one of the latter’s co-stars will no doubt earn similar accolades this year (along with another out today). Speaking of accolades, this lady’s amassed so many, even joining the elite group known as EGOTs (Emmy, Grammy, Oscar, and Tony winners). And after nearly eighty years in the “biz called show,” she’s still wowing audiences. But somehow, she still holds on to a good deal of modesty. That may account for the profile’s full title, RITA MORENO: JUST A GIRL WHO DECIDED TO GO FOR IT. Hang on, because she’s not slowin’ down, you guys!!
In the film’s opening scenes we encounter the magical Ms. Moreno as she prepares for Her own big birthday party, making decorations alongside her only daughter Fernanda (and laughingly saying that a truly big star would have hired someone for these tasks). Cut to the big “old school” “wing-ding” as Ms. M joins the hired entertainment, cutting a rug with the much-younger dancers. After some praise from another media legend, Norman Lear, the filmmakers delve into Moreno’s colorful history, told by the lady herself. Truly a rags-to-riches fable, Rita tells us of her idyllic early years in her birthplace of Humacao, Puerto Rico. At barely five years of age, Rita accompanies her now single seamstress mother Rosa Maria to a new life in the states, taking a crowded boat to NYC (Rita says she never saw her left-behind-with papa younger brother again). Rosa knew her daughter was gifted and “hitched a ride’ on her own rising star. While most youngsters her age were centered on school, she was singing and dancing in swanky supper clubs and night spots. It’s then that the film abruptly returns to the “now” as we follow Rita on a “working day” (still before the cameras when most retired), up at dawn, driving herself to Sony Studios for a long “tape day” on the Lear-produced sitcom revival for Netflix of “One Dat at a Time”. It’s then back to her history, as Rita and her mama somehow score a meeting with MGM head Louis Mayer during his Big Apple visit. He’s impressed (“She’s a Spanish Liz Taylor”), and Rita is under contract (her fifth film is SINGING IN THE RAIN). But after that career high point, she’s regulated to supporting parts, slathered in brown makeup and long jet black hair, as the exotic native girls, brushed aside for the blonde Anglo leading ladies. And outside the sound stages, Rita must deal with lecherous older men (that Harry Cohn) and abusive directors. The next decade in film finally gives her a chance to shine as she is awarded a Supporting Actress Oscar for WEST SIDE STORY. But the good roles didn’t immediately fly her way as she deals with a tempestuous love affair with Marlon Brando that nearly destroys her. But Rita finds a loyal hubby in Dr. Leonard Cohan and begins a family as she conquers TV ( the cult PBS TV fave “The Electric Company” in the early 70s) and Broadway, getting a Tony as the campy Googie Gomez in 1975’s “The Ritz” (a movie version followed in 1976). The Awards keep coming as Rita continues her political work in DC (we see lots of 60s archival footage of her alongside MLK), and she assumes the role of Latin-American icon. What a life this lady has lived!
This cinema love letter is deftly crafted by director Mariem Perz Riera utilizing an incredible amount of movie clips that will delight cinephiles and TV fans (look, Rita’s dancing for Zorro). One unique device used to illustrate the transitions in Rita’s life story is animations of her as a classic toy of yore, the paper doll. The pixelation of paper cut-outs show her at different ages donning all manner of costume and clothing to reflect the eras and her many roles. And then there are those “talking heads”, an amazing gathering of stars from Hollywood’s “Golden Age” like Mitzi Gaynor, who had to go on “studio dates” with other “contract player” (we see many awkwardly staged stills of the couples having a “fun night on the town”). Luckily we also hear from several of her co-stars like her “Bernardo” and Oscar night co-winner George Chakiris and direct from “The Electric Company, “Easy Reader’ himself, Morgan Freeman (the clips from that kids’ classic show Rita’s superb comic talents, with the “glamour gal” transforming into a broad, mugging, but still charming, clown). Plus there are also those inspired by the icon like Lin-Manuel Miranda (who “name-checks” her in the new film of his IN THE HEIGHTS) to Eva Longoria who tells of her own struggles with producers wanting her to “spice up” her roles. Oh, and there’s even another EGOT, as Whoopi Goldberg joins the admirers (was hoping for my favorite EGOT, Mel Brooks, to drop in, alas…). But more entertaining and compelling than all of them is the lady herself. Her reflections to the camera are often a brilliant acting lesson, shifting quickly from one character to another (her grumbling mother becomes a snooty hotel clerk). Her tales are often hilarious (Yul Brynner tells her that her role in THE KING AND I is boring…and Rita agrees) to harrowing (she’s nearly ravaged at a daytime party for a whiskey distiller). Most interesting may be her romantic encounters, like a fling with the King, Elvis Presley. But the most complex is Brando, which consumed her to the point of attempting suicide (after a botched abortion he arranged). She now mocks him in her one-woman show, yet still keeps a photo of her with him (dressed as Napoleon) amongst her family portraits and snapshots. She seems to have a more stable relationship with her husband Gordon, but Rita tells of the stumbles and reveals that his death left her feeling more liberated than devastated. Her passion for current affairs is also shown (she’s watching the Brett Kavanaugh hearings while having breakfast in her TV dressing room). The biggest surprise may be her saying that she’s completely exhausted after the big “tape day” at Sony. It’s a flip on the talk show cliche of actors saying they never wish to retire as she appears to somewhat regret taking on such a big project in this point in her life (or maybe it was an unusually trying day). Oh, but there’s no “throwing in the towel” for the film’s finale since it’s far from her career’s fade-out. She’s got a small role, written in just for her, in Steven Spielberg’s big-screen remake of WEST SIDE STORY, which will be out in December, just in time for her 90th birthday. Now that’s something to celebrate, much like the wonderful RITA MORENO: JUST A GIRL WHO DECIDED TO GO FOR IT. Oh, how lucky are we that she “loves it here in ‘Am-air-i-kaaa!!”.
3.5 Out of 4 Stars
RITA MORENO: JUST A GIRL WHO DECIDED TO GO FOR IT opens in select theatres and screens exclusively in the St. Louis area at the Hi-Pointe Theatre and Landmark’s Plaza Frontenac Cinemas on Friday, June 18, 2021
Hmmm, “happy” and “murder’ almost bumping into each other in a film title? Something’s just not right. Oh, that’s a true understatement. You see, this action detective mystery parody has…puppets. There are human beings, but much of this revolves around “fabric-Americans”. And if the title’s not enough of a hint, the MPAA has slapped this flick with an “R” rating, so parents of the pre-K set will be warned. Hopefully they’ll heed the rating despite the fact that some of the cast resemble muppets. That’s because, they are…kinda’. One of the production companies involved is Henson Alternative, a subsidiary of the empire created by the “gone-too-soon” genius Jim Henson (can it be 28 years). Oh, and the film is co-produced and directed by his son Brian. Sure, Jim went after more mature audiences with his 1980’s fantasies THE DARK CRYSTAL and LABYRINTH, but they’re tame strolls through the nursery compared to the all-out raunch assault of bawdiness and vulgarity served up in THE HAPPYTIME MURDERS.
The setting is the present day LA, but it’s not exactly this planet. Now, on this nearly parallel Earth human beings live and work beside living puppets, free of their masters. There ‘ain’t no strings on them, nor controllers with their hand up their…ya’ know. Oh, and the “felts’ are treated like second class (or lower) citizens, bullied and abused, left to drown their sorrows in sugar (which numbs and stimulates their different ‘inards”). Much of this is told to us by the story’s narrator and main protagonist, hard-drinking, chain-smoking, ex-cop turned puppet private eye Phil Phillips. As he enters his ramshackle agency HQ, Phil’s human secretary/receptionist “Bubbles” (Maya Rudolph) informs him that a possible new client is waiting in his private office. He’s stunned to see a red-headed puppet bombshell named Sandra who gives him a blackmail letter she received (she’s an “Ima”, which, well, we can’t explain here). That letter has a clue which leads Phil to a “puppet porno shop” that becomes the scene of a blood bath, well more of a “stuffing slaughter”. The human police are called in and Phil is re-united with his former police partner Det. Connie Edwards (Melissa McCarthy). Neither are happy to see each other. Nonetheless Lieutenant Banning (Leslie David Baker) insists that they work together. When Phil’s actor brother Larry is killed, a pattern begins to form. One of the porn shop victims and Larry were part of an old 80’s TV sitcom called “The Happytime Gang”. Phil and Connie try to track down the other cast members including the show’s sole human star (and Phil’s former lover) Jenny (Elizabeth Banks). When hot-headed FBI Agent Campbell (Joel McHale) joins the case, Phil becomes the prime suspect. Can Connie help him clear his name and bring the real murder mastermind to justice?
Once again McCarthy completely commits to the material, bringing a nearly limitless supply of energy and physicality. This serves her (and the film) well, when the script falls short, settling for a cheap obscenity or a shocking sight gag. This is not the sweet-natured “every-women” we endured in this year’s forgettable LIFE OF THE PARTY, rather it’s the “go for it” hellcat of THE HEAT, particularly in the “sugar hit” sequence. As I mentioned earlier, the puppets have a real big sweet tooth, and it turns out that Connie is “part puppet” (well she has puppet parts, which we learn in a big flashback). McCarthy literally bouncing off the walls before wailing on a nasty band of muppet mobsters. She truly gives it her all, sharing most of her scenes with Phil, and, to very good effect, a frequent co-star: Rudolph. She’s very funny in the detective’s girl Friday cliche (a bit dim, but loyal, and crushing on her boss), but a scene where she and McCarthy break into a suspect’s apartment gives both actresses a chance to shine (and again, much better than their time together in PARTY). Hopefully some gifted film maker will craft a smart buddy comedy (like a gender-flipped”bro-mance”) for these two very talented women. As for the other human cast mates, Banks has little to do, aside from vamping it up on the stripper pole and looking longingly at Phil. Darn it, she’s funny too, but you can’t tell from this ho-hum role. The same can be said for McHale who’s saddled with the straight man/ butt of insults as the up-tight “fed’ (it’s like his “snark” has been muzzled). And Baker does what he can with the standard flustered, agitated cop boss role, that staple of many a police station-set flick or TV show. But kudos to the very hardworking, but unseen, puppet performers, who really help sell this strange concept (especially Bill Barretta as Phil).
Brian Henson directs with confidence, hitting all the usual beats in a buddy/cop thriller while never calling undue attention to some of the clever technical tricks involved in making this fantasy seem real. Unfortunately this story can’t be stretched to feature length, without losing its focus, and its audience’s interest. It’s another example of a great 20 minute or so TV sketch (or a “stand-alone” half hour special) that wears out its welcome in movie time (like many Saturday Night Live skit-based flicks). The private eye parody is nothing really new as the plot and its hero rehash Bogie in THE MALTESE FALCON and even Elliott Gould in THE LONG GOODBYE (and you could get a nagging cough from Phil constantly puffing away). And of course there’s the elephant (or big bunny) in the room, the film’s main idea is a pale riff on the vastly superior, truly iconic, now 30 year-old classic WHO FRAMED ROGER RABBIT (with a nod to ALIENATION where the “newcomers” got hammered on sour milk). We can match up the characters (Connie=Eddie Valiant, Phil=Roger, Sonia=Jessica), along with the story points. But despite the former’s slightly naughty twists, the denizens of Toon Town were still pretty magical and endearing. Not so with these bits of fluff and felt, who exhaust us with the barrage of “F-bombs” and 70’s style “sex talk” (one sugar-addicted puppet’s constant “offers” feels more sad and desperate than hilarious). And that sexualization of beings that resemble plush kiddie toys just gets too “skeavey” after the first few minutes. I know that Jim Henson wanted to break out of the “children’s entertainment ghetto”, but this is far too aggressively crude (though there are several hysterical bits of business that nearly rival the final orgy of SAUSAGE PARTY, a flick that shocked, but has some smart things to say). Despite this, and the spirited efforts of McCarthy and Rudolph, THE HAPPYTIME MURDERS is more listless and witless than outrageous and offensive. If this hits, what’s next? “Punch and Judy, Ted and Alice”?!
In the all new Muppet caper MUPPETS MOST WANTED, Kermit and the gang embark on a world tour to share their show with fans. Little do they know that their new manager, Dominic Badguy (Ricky Gervais), has other plans. He and his accomplice Constantine, an amphibian identical to Kermit, are out to on the world of some of its greatest treasures, and plan on using the Muppets shows as a cover. Now, it’s up to the gang to stop them, and figure out which is the lean, mean, green stealing machine and who is the real Kermit.
It doesn’t matter what the Muppets do, it’s going to be funny (with the exception of THE MUPPETS’ WIZARD OF OZ… let’s just forget that ever happened). Having said that, this was not my favorite Muppet flick. Sure, there are some funny jokes, and the gang still oozes with charm, but I feel like the story lagged. Overall, this was a boring movie. They didn’t utilize the comedic skills of Ricky Gervais or Ty Burrell, and completely wasted Tina Fey’s witty timing and sense of humor. I was really disappointed in the role that they stuck her in. She deserves more than a bad accent and mediocre dialogue. Such a shame.
The Muppet characters are still just as charming as ever, with the exception of Constantine. I didn’t really like his character… even as a villain. He was too cheesy, and the assumption that no one would realize that he switched places with Kermit, even just by listening to him talk, is a bit too much. The Muppets are wacky, and don’t always make sense. I get it. His accent was still terrible. Actually, every fake accent in this film is terrible. Give me a smart, silly film. Don’t shove cliches and, what feels like, a rushed script down my throat. I know it sounds like I”m being tough on them, but that is because I am a fan, and they have an incredible body of work. Compared to the rest, this one is boring.
Even the songs in this film are boring! We’re doing a sequel was a decent opener, but after that the songs fell flat. Even as I type this, not one song sticks out in my mind. The last movie had ‘Pictures In My Head’, a cover of “We Built This City”, and “Man Or Muppet” just to name a few. Again, another disappointment.
MUPPETS MOST WANTED feels like more of a rush job than a thought out film. The only thing that saves this film, and makes it worth watching is the beloved characters that we grew up with… and Walter too!
The all new Muppet caper MUPPETS MOST WANTED opens tomorrow, and in celebration of the film Kermit the Frog, Miss Piggy, Constantine, Ricky Gervais, Ty Burrell, Tina Fey, and Sam Eagle held a press conference to talk about returning to the big screen. Check it out below!
Disney’s “Muppets Most Wanted” takes the entire Muppets gang on a global tour, selling out grand theaters in some of Europe’s most exciting destinations, including Berlin, Madrid, Dublin and London. But mayhem follows the Muppets overseas, as they find themselves unwittingly entangled in an international crime caper headed by Constantine—the World’s Number One Criminal and a dead ringer for Kermit the Frog— and his dastardly sidekick Dominic, aka Number Two, portrayed by Ricky Gervais. The film stars Ty Burrell as Interpol agent Jean Pierre Napoleon, and Tina Fey as Nadya, a feisty prison guard.
Yes, for Kermit. I was wondering – nothing against you Constantine – but I was wondering why Kermit you didn’t want to play both parts, because it would have really enhanced your acting credits. And where’s Miss Piggy? [LAUGHTER]
KERMIT THE FROG: Boy, that’s two very different questions [LAUGHTER], I’ll tell you. [LAUGHTER] Well, you know it didn’t make sense for me to play Constantine ‘cause we do have a few scenes together and I don’t really work on green screen [LAUGHTER] so we couldn’t really make that work. But plus, listen Constantine is actually a—a distant cousin, from Russia.
CONSTANTINE: Yes.
KERMIT THE FROG: Also with roots in the Colorado area I understand.
CONSTANTINE: This is true.
KERMIT THE FROG: Yeah, yeah. They like to lick toads there but anyway [LAUGHTER]. So—so it was better to get him to do it. He has the voice you know.
SAM EAGLE: He is actually from Russia?
KERMIT THE FROG: Well, I’m afraid so Sam. I’m afraid so.
SAM EAGLE: My goodness you’re sitting between the two of us. That’s all I can say.
CONSTANTINE: But what is weird thing is I cannot speak any Russian words.
RICKY GERVAIS: Just—just …
CONSTANTINE: … just an accent …
RICKY GERVAIS: … any place with a Russian accent?
TINA FEY: Yeah.
KERMIT THE FROG: Yeah, yeah. [LAUGHTER]
TY BURRELL: Two dogs [laughter].
CONSTANTINE: That’s it.
KERMIT THE FROG: That is very weird.
TY BURRELL: That’s a weird part of Russia that’s all English and …
CONSTANTINE: That is correct.
TINA FEY: You were born in the Russian airport.
CONSTANTINE: Yes.
TY BURRELL: [LAUGHTER]
KERMIT THE FROG: Oh, and I should, to answer the second part of your question, well, I’m just gonna give it away. Miss Piggy is actually around but she—she insisted upon being fashionably late.
CONSTANTINE: Yeah.
KERMIT THE FROG: So, I don’t know when she’s gonna show up but she is here.
CONSTANTINE: Who cares? [LAUGHTER]
KERMIT THE FROG: Exactly.
I wanted to ask the humans amongst the group here, about the singing. Were you nervous at all about being in a movie musical and singing and so forth, and how did you approach it? Will there be more musicals in your future?
RICKY GERVAIS: Well, I was okay with singing. I’m a failed pop star. I always sneak a song into everything I do, whether it’s David Brenn or Simpson’s or but, my dancing is a little awkward. A little embarrassed about that. I don’t move well. But I was with a frog.
KERMIT THE FROG: Yes.
RICKY GERVAIS: So it doesn’t matter. I’ll do …
KERMIT THE FROG: … you’re a very good friend …
RICKY GERVAIS: … I’ll do anything with a frog. That’s—that’s my motto. [LAUGHTER]
CONSTANTINE: That is nothing.
RICKY GERVAIS: And he was a, he’s a great tap danc—well, more a flap dancer …
CONSTANTINE: … I did flap dancing. [LAUGHTER]
RICKY GERVAIS: Yeah, flap dancing on my head. So, yeah no one’s gonna be looking at me when—when we’re doing that dance. [LAUGHTER] They’re gonna say there’s a frog dancing. That’s what—that’s what’s gonna be happening. So, yeah I got away with it.
TINA FEY: Yeah, you know you have a good voice. And my singing sounds like if you’ve ever seen the version of Oliver when the little boy sings and you can hear the hiss of how loud they had to turn up the microphone [LAUGHTER], it’s—my singing sounds like that.
KERMIT THE FROG: No, no that’s not true. You were great [LAUGHTER], you were great.
TINA FEY: But I think you know, Bret wrote really really good songs …
KERMIT THE FROG: … mm-hmm …
TINA FEY: … that make us seem good.
RICKY GERVAIS: Pretty amazing.
KERMIT THE FROG: Yep, yep.
SAM EAGLE: America and the world were spared my singing voice except for two notes. I don’t know if you noticed that. I think it was by design. [LAUGHTER] I spoke, I spoke my song but I was thrilled to do it. I, a huge fan of Bret McKenzie.
KERMIT THE FROG: Well, you are selling yourself short. You’re a great singer, a great actor and a great American. [LAUGHTER]
SAM EAGLE: So—so confusing. [LAUGHTER]
Hi Tina. In your Nadya persona …
TINA FEY: … yes …
… can you tell us why you, not Miss Piggy, are the right woman for Kermit? She’ll stab you in the back later but just tell us now why you’re the right woman?
TINA FEY: Nadya is less work than Piggy. [LAUGHTER] You can give Nadya bag of hot rocks for Valentine’s day she will not care. [LAUGHTER]
KERMIT THE FROG: That’s true, that’s true. [LAUGHTER]
Perfect date.
TINA FEY: Or is a cheap date. [LAUGHTER]
Hello, here. It’s a—a question for Mr. Constantine.
CONSTANTINE: What? [LAUGHTER]
After this movie and singing and dancing, did you ever plan to leave behind the criminal life and dedicate and incorporate to the Muppets family?
CONSTANTINE: Well, this is good question. I am actually thinking about doing new Netflix original programming [LAUGHTER]. I will call it House of Toads. [LAUGHTER] I will executive produce and show run. [LAUGHTER] So let’s take meeting yes? [LAUGHTER] What you think?
RICKY GERVAIS: It’s amazing. [LAUGHTER] You’re the best.
CONSTANTINE: I am.
RICKY GERVAIS: I love this guy. He—he looks like, you know, he’s got a cold always literally like a cold exteriors. He’s cold blooded – he’s an amphibian.
CONSTANTINE: Yes.
RICKY GERVAIS: But he’s got it all, I think I’ve melted his heart a little bit. You see he had a bad upbringing. He was born in a Russian pond, weren’t you?
CONSTANTINE: Yes.
KERMIT THE FROG: Yeah, yeah.
RICKY GERVAIS: One of 800 siblings.
CONSTANTINE: Right.
RICKY GERVAIS: Many of ‘em dead.
KERMIT THE FROG: Yeah.
CONSTANTINE: Eaten by fish. [LAUGHTER]
RICKY GERVAIS: And he came over here and we met and we bonded didn’t we?
CONSTANTINE: Yes.
RICKY GERVAIS: We bonded over our mutual hatred of most of the other Muppets. [LAUGHTER]
CONSTANTINE: Well, of particular pig.
RICKY GERVAIS: Oh, yeah don’t get me started.
CONSTANTINE: Yes.
SAM EAGLE: Yeah, good thing she’s not here.
CONSTANTINE: Yes.
In the movie there’s a scene where Kermit, you try to mimic Constantine in that mirror. I was wondering for all of you, in your own personal lives, have you ever tried to be someone and mimic someone that isn’t true to who you really are?
KERMIT THE FROG: I think that’s what we do for a living isn’t it? [LAUGHTER]
TY BURRELL: Yeah, yeah. [LAUGHTER] We turn that …
RICKY GERVAIS: … five days a week …
TY BURRELL: … very strange psychological disorder into a—a lucrative career. [LAUGHTER]
CONSTANTINE: You nailed the answer Kermit. That was good.
KERMIT THE FROG: Yeah.
Hi. There’s a line in the movie that…
KERMIT THE FROG: … huh, oh …
… that suggests that there may have been, um, some rivalry behind the scenes over how much screen time Walter got in the last movie. Would—would Kermit and Sam care to comment on that? Any sort of behind the scenes politicking?
KERMIT THE FROG: Sam, you’re good at behind the scenes politicking.
SAM EAGLE: Well, yes, yes I’m also very good at diplomacy so …
KERMIT THE FROG: … yep, yep …
SAM EAGLE: … I will just say that I am happy with how this movie turned out [LAUGHTER] and all the screen time that …
KERMIT THE FROG: … yeah, wait wait whoa …
SAM EAGLE: … everyone here …
KERMIT THE FROG: … Sam, Sam you didn’t answer the question.
SAM EAGLE: Exactly Kermit. [LAUGHTER]
KERMIT THE FROG: Oh. [LAUGHTER]
SAM EAGLE: That was the point. [LAUGHTER]
Hi, my question is for Ricky Gervais. A huge fan of your work with the podcast and the travel shows with Mr. Karl Pilkington …
RICKY GERVAIS: … thank you …
…and I was curious if you were to do another season of ‘An Idiot Abroad’ and pair Karl with any one of the Muppets, which Muppet would you pair him with to annoy him the most and where would you send them around the world?
RICKY GERVAIS: I reckon, wow, Piggy I reckon, [LAUGHTER] It can’t stand anything high maintenance and whiney so that—that would be good. That would, that would really, I mean, that would finish him off I think. [LAUGHTER] Or Bunsen, that would be good as well.
KERMIT THE FROG: Mm-hmm.
RICKY GERVAIS: Because they look so alike. [LAUGHTER] That would confuse him. He wouldn’t know which one he was by the end of the [LAUGHTER], by the end of the show so that would be easy.
What do you guys think that kids will like most about this movie?
TINA FEY: I think, uh, I have kids. So I will answer …
KERMIT THE FROG: … you think you do or you know you do? [LAUGHTER]
TINA FEY: I had some [LAUGHTER] …
KERMIT THE FROG: … I did—I did get her attention …
TINA FEY: … I had some, as of this morning I had two. [LAUGHTER]
KERMIT THE FROG: Okay, good good.
TINA FEY: I think they—I think they’re—they’re gonna like how funny the movie is because, you know, I think there’s a lot of jokes in the movie and kids who are like 8, 9, 10 years old they take a lot of pride in getting the jokes.
KERMIT THE FROG: Mm-hmm.
TINA FEY: It makes them feel big.
RICKY GERVAIS: Yeah, it doesn’t patronize kids.
TINA FEY: Yeah.
RICKY GERVAIS: It doesn’t aim an audience …
KERMIT THE FROG: … yeah …
RICKY GERVAIS: … it—it aims higher and—and I remember when I was a kid watching the Muppets. I had older brothers and sisters and they were laughing and I—I sort of knew that it was cool as well, you know, good—good for me so I think kids relate to that. They like things that adults like …
KERMIT THE FROG: … mm-hmm …
RICKY GERVAIS: … as well. So that …
KERMIT THE FROG: … I for one do not get any of the jokes in this movie. [LAUGHTER] I just want to say.
TY BURRELL: I have an IQ of a seven-year-old and I loved this movie so much. [LAUGHTER]
RICKY GERVAIS: Yes.
TY BURRELL: I also love juice. [LAUGHTER]
I just wanted to go ahead and ask you. You guys are all comedy giants, in different age ranges of course.
TINA FEY: Yeah, only from behind.
Okay, yes. [LAUGHTER] When you guys got to learn each other or got to work with each other on set I mean, is there anything that for Tina, for Ricky and for Ty that you guys were inspired from—from the Muppets and for the Muppets were you guys inspired by your human counterparts?
TY BURRELL: I was constantly inspired by the Muppets. I’ve never realized just how over rated I was until you go out [LAUGHTER] and do a scene with somebody, who’s doing the, doing eight things at once while all I have to do is try to remember my words which I fail at miserably.
SAM EAGLE: No, no again, you sell yourself short Ty. [LAUGHTER] Alright? You—you could remember …
TY BURRELL: … oh, by the way Sam—Sam …
SAM EAGLE: … most of those words …
TY BURRELL: … I’m—I’m …
SAM EAGLE: … most of the time …
TY BURRELL: … I’m happy to report Sam became my life coach [LAUGHTER] right after we finished filming.
SAM EAGLE: Yes, yes. Well …
TY BURRELL: … so if we …
SAM EAGLE: … it took a while though.
TY BURRELL: Yeah.
SAM EAGLE: At—at for about half of the film this—this man is such a great actor. He had me going. I literally thought he was a Frenchman. [LAUGHTER] Yes, he was so convincing I think his portrayal of a Frenchman will go down in history as the most convincing portrayal of a Frenchman in film. [LAUGHTER]
TY BURRELL: Wow. I think we finally, you and I finally really bonded when we realized we had the exact same eyebrows.
SAM EAGLE: Yes. It—it’s true. It’s true. You know, and yes one day when I, I showed up to sets without mine he was kind enough to let me borrow his.
TY BURRELL: Yeah. [LAUGHTER] I had a—I had a surplus.
This question is for Ricky… we see you in the movie carrying these big bags of money for the journalists and at least I didn’t get my share [LAUGHTER] and where is my kind of money and do you care about reviews at all?
RICKY GERVAIS: You, well yeah. I mean, you like, you like it when they get it. But, I mean, if—if you only believe the good ones and don’t believe the bad ones then I think that’s a slippery slope. The best thing to do is, you know, celebrate the people that like the film and—and, you know, know that it was made for them. I—I don’t do anything for—for reviews or audience or awards or anything, you know. You do it for—you do it for yourself really if I’m being totally honest …
KERMIT THE FROG: … mm-hmm …
RICKY GERVAIS: … and—and of course, you know, and like minded people. But it’s—it’s crazy. If you’re worried about pleasing everyone you’re not gonna please anyone. And it’ll send you mad, you know …
KERMIT THE FROG: … mm-hmm …
RICKY GERVAIS: … and it’ll drive you mad and now everyone’s a journalist. Everyone’s a reviewer, you know, with Twitter and Facebook it’s—it’s—it’s like glorified graffiti. If you care about that you might as well go around toilet wall in the world and get offended when they mention you, you know. It’s—it’s, so you musn’t. But yeah, you know, I’d—I’d love it to do, get good reviews and I’d be lying if I, if I said otherwise but you—you really musn’t worry about it. You really musn’t.
KERMIT THE FROG: Mm-hmm.
RICKY GERVAIS: It will drive you crazy. But having said that just say f****** nice things about it please. [LAUGHTER] This—this is not for me but for the kids. [LAUGHTER]
Kermit, what are you most proud of?
KERMIT THE FROG: Well, you—you may be surprised to hear this but there—there—there, I’m actually stretching myself quite a lot as a—as a dramatic actor in this thing. I did many many scenes with Tina.
TINA FEY: Mm-hmm.
KERMIT THE FROG: One particular scene stands out to me. It was a closed set. It was the scene where she licks me. [LAUGHTER]
TINA FEY: Yeah.
KERMIT THE FROG: We—we, but I—I just wanna clear it up right here with the press that Tina is happily married. Jeff was there during the shooting.
TINA FEY: Yep.
KERMIT THE FROG: On closed set.
TINA FEY: He was—he was, my husband was there. He was being very kind of controlling and creepy. [LAUGHTER]
KERMIT THE FROG: Yes, but supportive, supportive.
TINA FEY: Kind of a star 80 thing but [LAUGHTER] …
KERMIT THE FROG: … yeah, yeah. [LAUGHTER]
TINA FEY: And I had never done a scene like that before either.
KERMIT THE FROG: No, no. Me too.
TINA FEY: I mean I’d filmed a lot of weird stuff at home but [LAUGHTER] …
KERMIT THE FROG: … yeah, yeah.
TINA FEY: To have a whole crew there, I was nervous and Kermit really put me at my ease.
KERMIT THE FROG: Yeah, yeah.
TINA FEY: Uh, but I did hallucinate for three or four hours. [LAUGHTER]
KERMIT THE FROG: A little bit. And that’s odd because I had blood tests before…
TINA FEY: … right …
KERMIT THE FROG: … I thought the toxins were low but.
TINA FEY: No, it was …
KERMIT THE FROG: … pretty strange.
TINA FEY: … it was pretty trippy.
KERMIT THE FROG: Yeah.
SAM EAGLE: I’m sorry, I’m sorry. I’m going to have to leave now [LAUGHTER]. I’m—I’m doing double duty here both promoting this film and also working in hotel security.
KERMIT THE FROG: Oh, thanks thanks.
SAM EAGLE: And there’s been a—a bit of a ruckus in the lobby. I—I have to go I—I—I apologize sir.
TINA FEY: Thanks.
SAM EAGLE: Got the m and m.
This question is for Ricky. So, I know that you have been a manager for rock bands… and now you’re portraying a rock band manager. How’s it for you? What did you get from this experience for the role in the movie?
RICKY GERVAIS: Oh. Oh, yes because I’m pretending to be a sort of sleazy LA agent, not that there are any sleazy LA agents. [LAUGHTER]
KERMIT THE FROG: No, no.
RICKY GERVAIS: To yeah, infiltrate the Muppets. Yeah, it was, it’s quite nice playing a slime ball, a villain. I like that. I’ve liked playing flawed characters, you know, it—it’s fun. It’s—it’s sort of an exorcism. You’re sort of saying, see I’m not really like that myself. And I think [LAUGHTER] that’s, you know, what, I was just thinking about it. The Muppets is, did what I tried to do in extras of many years before. Taking sort of famous people and making them make fools of themselves and, it sort of must have sunk in, and being on the flip side of it like doing stuff like this and Curb Enthusiasm, you enjoy it and the—and you wanna be worse ‘cause you are sort of saying look, I can’t be like that or I wouldn’t be joking about it and I think that’s why they wanna do it in a way so, um, it was—it was great fun for me and I bonded with this guy immediately. I’ve loved the Muppets for 35 years and, you know, I love you guy—I love you. I love your nephew Robin, he’s got no neck.
KERMIT THE FROG: Yeah. [LAUGHTER]
RICKY GERVAIS: It was like I love …
KERMIT THE FROG: … yeah, yeah …
RICKY GERVAIS: … I love frogs. He was my favorite until I met this guy but I’m sorry to say this but …
KERMIT THE FROG: … okay, yeah …
RICKY GERVAIS: … I—I think Constantine might be my best buddy.
KERMIT THE FROG: No, you know what I totally understand. You guys worked closely together …
RICKY GERVAIS: … yeah …
KERMIT THE FROG: … I—I understand. I accept that.
RICKY GERVAIS: Yeah.
KERMIT THE FROG: Yeah, yeah.
CONSTANTINE: I have no comment on this. [LAUGHTER]
[APPLAUSE]
Oh, Miss Piggy. Miss Piggy.
TY BURRELL: Hello.
MISS PIGGY: The show’s not over it’s just begun. Ha ha. Hello Kermit.
KERMIT THE FROG: Well, hi there hi there …
MISS PIGGY: … hello Kermit. Whoa, whoa, wait.
CONSTANTINE: Yeah, hello pig. [LAUGHTER]
MISS PIGGY: Wait a minute, what? Which one is which? [LAUGHTER] Hi all.
CONSTANTINE: No, I’m just kidding. I got with the, oh, ha ha ha.
MISS PIGGY: Oh, okay okay. Whew.
KERMIT THE FROG: And this was all during the entire shoot she confused us …
CONSTANTINE: … hmm …
KERMIT THE FROG: … but it—it kinda took some of the pressure off me.
MISS PIGGY: Maybe—maybe a little bit at the beginning.
KERMIT THE FROG: No, listen you still don’t know who we are.
MISS PIGGY: Ah, [LAUGHTER] alright, alright, alright.
KERMIT THE FROG: She just sees green it’s wonderful.
CONSTANTINE: Hello.
MISS PIGGY: You know it’s actually not bad.
TINA FEY: Hi, hi Miss Piggy. I, we …
MISS PIGGY: … oh, yes …
TINA FEY: … haven’t actually met.
MISS PIGGY: I know. We have, we didn’t really do much together on the movie.
TINA FEY: No, you refused to meet me.
MISS PIGGY: Hello Tina. [LAUGHTER]
TINA FEY: I, nice, you look so pretty.
MISS PIGGY: Aw, thank you. Thank you. Yes, I think you look pretty too.
TINA FEY: Oh, thank you. [LAUGHTER]
MISS PIGGY: So—so you’re so far away. [LAUGHTER] I’m sure you look pretty.
For the non Muppet performers, over here in the—on this side here… Especially those of you with children, what does it do for your street cred to be able to tell everybody that you were working with the Muppets? Becoming close personal friends with the Muppets? Were the kids particularly impressed by you?
TY BURRELL: My kids are still so unimpressed by me. I’m banking this one. I’m gonna, I’ve learned this already from other, any other kids project that it’s if I wanna save my ego I’m gonna bank this. I’m gonna put it out in five years or something. But so far, it’s one minute of—of why is daddy on screen and—and 90 minutes of I’m hungry. [LAUGHTER]
RICKY GERVAIS: I haven’t got children but when I found out I was doing this film I just went and hung around schools telling ‘em. [LAUGHTER] Just at play time. [LAUGHTER] I said hey kids, you don’t know who I am yet but [LAUGHTER] do you know the Muppets? Oh, yeah you wait, you’re going to be impressed. [LAUGHTER]
TY BURRELL: Let’s wait right here.
RICKY GERVAIS: Yeah, that’s right. The whole day.
TY BURRELL: Yeah, you wanna leave soon.
RICKY GERVAIS: Yeah. [LAUGHTER]
TINA FEY: I have four children now [LAUGHTER] and they’re very excited to see the movie, but as far as me being in it it’s mostly like, you know, oh, you’re in the poster now you be Queen Elsa [LAUGHTER]. They just want me to be either Queen Elsa or Mistress Me. [LAUGHTER] [INDISCERNIBLE].
Good morning and congratulations to Tina and Ricky because in the past when you’ve been in this particular hotel it’s been hosting the Golden Globes, and making fun of or you know, jokes at the expense of celebrities accepting Golden Globes …
RICKY GERVAIS: … is, right. Or winning them exactly …
Are you suppressing an itch right now to make fun of anyone and Tina, since—since Kermit brought it up the licking scene… and on your list of things I presume there is one that you want to lick before you die… How high was Kermit on that list?
TINA FEY: It was …
RICKY GERVAIS: … have you still, you still do that list?
TINA FEY: … that list? Yeah. And I’ve done a bunch of them. I do them, so they still might have the silver, the third rail of the New York subway [LAUGHTER] …
KERMIT THE FROG: … yeah, yeah, yeah [LAUGHTER] …
TINA FEY: … Anderson Cooper’s neck is still on the list …
KERMIT THE FROG: … yeah, yeah [LAUGHTER] …
TINA FEY: … but it’s …
RICKY GERVAIS: … maybe sung to …
TINA FEY: … pretty high up there. Yeah. To lick Kermit that was …
KERMIT THE FROG: … yeah …
TINA FEY: … pretty high up there on the …
KERMIT THE FROG: … yeah, yeah. It was great for me.
MISS PIGGY: Yeah, that’s—that’s the last thing you’re gonna lick sister. [LAUGHTER]
KERMIT THE FROG: Yeah. [LAUGHTER]
TINA FEY: The fact that I was [LAUGHTER] …
RICKY GERVAIS: … oh, my, ahh, oh my word [LAUGHTER]. Yes, I have to curb the desire to make fun of celebrities. Yeah, I’m—I’m got about 12 in my head now but I’m being nice. [LAUGHTER] So, yeah I’ll keep it to myself.
TINA FEY: I have so many 12 Years a Slave jokes in my head right now. I can’t [LAUGHTER] believe it. There were so many extra ‘cause it’s so fun to write jokes about that.
RICKY GERVAIS: So much to me wasn’t it?
TINA FEY: And so easy. [LAUGHTER]
I was wondering if you could speak to the musicals and like how it was filming with the musicals compared to the regular dialogue… and Miss Piggy how was it working with Celine Dion?
MISS PIGGY: Well, working with Celine Dion it was a pleasure. It was a joy for her naturally. [LAUGHTER] Yes, I’m—I’m only too happy to let her ride my coat tails up to the Oscar stage. Yes, it was a joy. We only spent a little time together but—but it was very meaningful to her. [LAUGHTER]
I have a question for Miss Piggy. First of all, who are you wearing today ‘cause you look fabulous.
MISS PIGGY: Oh, thank you. Thank you.
And also, how did you like Vivienne Westwood’s wedding gown?
MISS PIGGY: Oh, well, well first of all this is—this is an original Stefano from Hoboken [LAUGHTER] this.
KERMIT THE FROG: Yeah, yeah, yeah.
MISS PIGGY: And then and then, what was the other? A Vivienne Westwood question?
Did you like her wedding gown?
MISS PIGGY: Yes, yes. Vivvy, she made moi a beautiful gown. Yes, made out of recycled plastic bottles [LAUGHTER]. Took a little while to get over that but you know, as they say something, something old, something new, something recycled, something …
KERMIT THE FROG: … blue?
MISS PIGGY: … something or other. [LAUGHTER]
KERMIT THE FROG: Well, lucky for me …
MISS PIGGY: … and, so …
KERMIT THE FROG: … luck—lucky for me she didn’t get to keep the wardrobe.
MISS PIGGY: Well, I could call Viv I’ve got her on Speed Dial …
KERMIT THE FROG: … no, no that’s okay. I think it’s probably disintegrated by now. Yeah. [LAUGHTER]
MISS PIGGY: I don’t think so. I think the half life for plastic is pretty long. I …
KERMIT THE FROG: … yeah, what about the half life for a pig frog marriage? I’m not sure about that? I mean come on people.
MISS PIGGY: For—forever!
KERMIT THE FROG: I don’t even think it’s legal.
RICKY GERVAIS: When in the movies, right …
KERMIT THE FROG: .. yeah …
RICKY GERVAIS: … when you—you get married and …
KERMIT THE FROG: … yeah …
RICKY GERVAIS: … various and you have children …
KERMIT THE FROG: … yeah …
RICKY GERVAIS: … they’re either pigs or frogs?
KERMIT THE FROG: Yeah.
RICKY GERVAIS: Why is there no sort of, you know …
TINA FEY: … abomination?
KERMIT THE FROG: Well, you know we’ve—we’ve never …
RICKY GERVAIS: … well, yeah [LAUGHTER]. Just like yeah, no. [LAUGHTER] Some sort of a fat …
KERMIT THE FROG: … I’m …
RICKY GERVAIS: … green sort of sworkling hoppy greedy pig?
KERMIT THE FROG: Yeah, snorting snorting pig.
RICKY GERVAIS: You know, I mean, why? I’ve never, haven’t you worked that out yet?
MISS PIGGY: I don’t know …
KERMIT THE FROG: … well, we—we haven’t actually consummated the experiment [LAUGHTER], so, we don’t really know. [LAUGHTER] You know? Yeah, yeah.
MISS PIGGY: It was—it was just that was the filmmaker’s visualization alright?
RICKY GERVAIS: It’s a house of cards that’s [INDISCERNIBLE].
KERMIT THE FROG: It, what are we doing? What are we doing? [LAUGHTER]
Tonight, Hollywood Blvd. was buzzing with excitement for the World Premiere of the all new Muppet caper MUPPETS MOST WANTED, held at the El Capitan Theater in Hollywood, CA. Stars from the film, including Kermit the Frog, Miss Piggy, Constantine, Ricky Gervais, Ty Burrell, Tina Fey, Sweetums, Josh Groban, Ray Liotta, and Danny Trejo greeted fans as they walked the red carpet. Also, director James Bobin, producer David Hoberman, producer Todd Lieberman, writer/executive producer Nicholas Stoller, and executive producer John G. Scotti were there to support the film. Special guests included Angie Everhart, Terry Crews, Tito Ortiz, Ken Marino, Jesse Tyler Ferguson and more. Check out the Muppet fun below!
Disney’s “Muppets Most Wanted” takes the entire Muppets gang on a global tour, selling out grand theaters in some of Europe’s most exciting destinations, including Berlin, Madrid, Dublin and London. But mayhem follows the Muppets overseas, as they find themselves unwittingly entangled in an international crime caper headed by Constantine—the World’s Number One Criminal and a dead ringer for Kermit the Frog— and his dastardly sidekick Dominic, aka Number Two, portrayed by Ricky Gervais. The film stars Ty Burrell as Interpol agent Jean Pierre Napoleon, and Tina Fey as Nadya, a feisty prison guard.
In the grand tradition of the Muppets, the film features a host of cool cameos. Among them are Danny Trejo, Tom Hiddleston, Celine Dion, Salma Hayek, Sean Combs, Christoph Waltz and Ross Lynch. The film features music from Academy Award®- winning songwriter Bret McKenzie (Disney’s “The Muppets,” “Flight of the Conchords”), and a score by Christophe Beck, the composer behind the Academy Award-winning short “Paperman” and the Golden Globe®-winning and Oscar®-nominated feature “Frozen.” Rahel Afiley is the costume designer, Don Burgess ASC returns as the director of photography and Academy Award- nominated Eve Stewart joins the crew as production designer.
Countless movies over the years have dealt with the exploits of fictional characters that have brought things to life-from Doctors Frankenstein to Herbert West ( the Re-Animator flicks ). With the new documentary BEING ELMO we learn about a real-life re-animator named Kevin Clashwho,instead of body parts or mechanical men, gives life to stitched together bits of foam and felt. More importantly, he’s the guy behind the pre-K superstar of Sesame Street, Elmo.
Clash’s journey to that TV street began on a real, urban street in Baltimore in the early 1970’s. He was fascinated by puppets and marionettes and was encouraged by his family ( his father was not upset that he used the lining of his trench coat for one of his first puppet creations ). Entertaining the children in his mother’s day-care service in the back yard ( a blanket tossed over the clothes line was his stage ) to cheering up kids at hospitals and schools, Clash soon made a name for himself in the area. Word reached the local TV stations and soon he was an integralpart of a local kids’ show. They helped put him in touch with Robert Keeshan, who brought Clash on board his long-running ” Captain Kangaroo “. Of course the big superstar of puppetry those days was Muppet mastermind Jim Henson. After catching a TV showabout the making of his characters, Clash set about meeting the designer and engineer of the Muppets, Kermit Love. Thanks to his mother making many phone calls, Clash met the puppet wizard during a highschool NYC field trip. This lead to the syndicated TV kids’ show ” The Great Space Coaster” , and finally, once the Captainand the Coaster left the airwaves, to Henson’s staff. After working on the feature film LABYRITH, Clash became one of the main Muppet performers on ” Sesame Street “. After toiling away with a number of Street residents, one of the other muppeteerstossed him a red, furry, orange-nosed monster character ( who he had voiced as a caveman-type ) and said, ” See what you can do with this!”. Clash brainstormed and soon came up with a mischievous, affectionate, five-year-old charmer that captured the hearts of tykes everywhere. Clash had finally found his foam and felt perfect alter-ego, Elmo.
BEING ELMO is an engaging story that, not only tells of the joy of performing and being encouraged by a supportive family, but also gives many examples of the benfits ofpaying-it-forward. Clash gets lots of advice from the local Baltimore TV crew, then Kermit Love, and finally Henson andhis Muppet team. Soon, Clash is passing his wisdom and skills to performersof the foreign versions of Sesame and, finally, a wide-eyed, pre-teen puppeteer. The film is sparsely narrated by Whoopi Goldberg. Clash mostly tells his own story in interviews with the film makers, and extensive footage from past TV news stories about him ( some great scenes from the old TV show ” The Big, Blue Marble” ) and behind the scenes featurettes. surprisinglywe see some clips from Henson’s memorial service in 1990. And, the film does address the whole ” Tickle Me Elmo” mania that swept the country a few years back. Clash seems a bit stunned by this, but he’s truly touched by the impact that he’s made on children. We see him welcoming an ailing little girl and her family to the Street set in a touching sequence. Seems that a visit to their little furry friend is a popular request at the Make-A-Wish Foundation. There’s many interviews with other performers and family members, but some of his adult personal life is glossedover a bit. After seeing home video of his wife headed to the hospital to give birth, we don’t hear about her until a few moments later when she’s referred to as an ex-wife. There’s many scenes of Clash regretting being an absentee father to his daughter and then many clips from her big sweet sixteen party. These are many quibbles. BEING ELMO is a charming film that celebrates a determined, gifted man who, thanks to hard work and encouraging mentors, found an outlet to hare his love and joy, and made all his young dreams come true. It’s a story that should touch ( and tickle ) even the most cynical filmgoers.
Welcome to the 2011 Holiday Movie Geek Gift Guide! What is this? No, it’s not my personal gift wish list made public in hopes that readers will bury me in their affection — although, I wouldn’t be disgusted if you did — no, this is guide to finding that perfect, special gift for the Movie Geek in your life. You know who I mean. We all have at least one friend who obsesses about movies, someone who spouts a movie quote or a director factoid every other breath. What does one buy a person so firmly entrenched in the culture of movies? I hope this guide helps you with your shopping ideas, but don’t expect to find the typical, no brainer ideas — such as gift cards — on this list. Continue reading Top Ten Tuesday: 2011 Holiday Movie Geek Gift Guide
Once upon a time not long ago, in a living room not so far away, was a television set that opened up a magical, comical, crazy world filled with fuzzy, funny make-believe characters too great to simply be called puppets. No, these were The Muppets, and we loved them completely. Great thanks goes out to Jason Segel for making his dream of a Muppets return come true this Wednesday, but most importantly, boundless thanks should be given to Jim Henson himself, creator of The Muppets, on the holiday of gratitude. We Are Movie Geeks would like to extend our own thanks, and in doing so, presents out Top Ten MUPPETS Hall of Fame. Continue reading Top Ten Tuesday: Special Edition THE MUPPETS Hall of Fame
On the red carpet at the December 18th premiere of Gulliver’s Travels at Los Angeles’ Grauman’s Chinese Theatre, Jack Black talked to EW about his cameo in the 2011 MUPPETS movie, which just happens to be written by Gulliver’s co-star Jason Segel.
“I will be playing myself,” Black says. “It’s kind of like Being John Malkovich. It is a new twist on the Muppets. Very cerebral and meta.”
On why he decided to appear alongside other stars Ricky Gervais, Zach Galifianakis and Billy Crystal in Segel’s film, Black said,
“It is a little tit for tat,” he says. “I gave him a gig in Gulliver’s and he said, ‘Wanna come do a little something for me and the Muppets?’ I’m very excited. I’m going to shoot [it] in January. I better read the script. It’s time to get ready and memorize.”
Jack Black will join Kermit the Frog, Miss Piggy, Fozzie the Bear, Gonzo, Animal and the rest of the gang in theaters just in time for the 2011 Thanksgiving holiday weekend on November 23rd.
