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He knows that some people think he's had some kind of breakdown. I'm going to change this guy's life," he says, rolling down the window and sticking his head out. But frankly, he doesn't care."I'm the same as them – that's the thing," he says.
"I didn't know Jim personally, and I was curious about what he had been up to.
But I didn't know where it was going to go or what it would be.
For me, it was having faith in Spike that he saw something interesting here."The filming, however, proved revelatory.
Jim Carrey sat in a Los Angeles hotel room on a recent evening explaining that he was not really Jim Carrey anymore – at least not in the way he once was.
"I use his name," Carrey said, dressed all in black, his lanky frame folded onto a couch.
Please enjoy this wild ride with one of our most legendary performers.—Alex Belth Out of the blue, in the middle of the action, an extremely clever comic actor began counting, very slowly, and with great concentration: one, two, three, four… Scott sings “Sixty-six bottles of beer on the wall, sixty-six bottles of beer.” Elvis takes us down to fifty-three. But there’s a little voice that says, ‘Oh, no, you can’t do that, that’s breaking all the rules.’ That’s the voice of show business. He has stumbled onto a secret of comedy: the unexpected is funny.
enunciating each of the numbers with the utmost deliberation, as if they had gotten away from him and he was gathering them up again: five, six, seven, eight… When he reached fifteen, the audience began to laugh, and by the time he had slowly, and with greater and greater concentration, made his way up to a hundred, people were falling off their seats… Yes, cross the border and you hear that fateful laughter. —Milan Kundera, The Book of Laughter and Forgetting It is on a weekday morning as Andy Kaufman strides into the Improvisation. He just, well, does things…It has already been a good night for Kaufman. Then Kaufman increases the pressure by counting back up for a few bottles, whispering a little, now singing again. Then this other little voice says, ‘Try it.’ And most of the time, when the voice comes on and says, ‘No,’ that’s the time it works.” He is speechless for a moment. ”You want to be happy for him, this overgrown child, but something holds you back. And what could be more unexpected than a comedian coming out for ten minutes and not being funny at all?
All the stuff that everyone took so seriously was just a game and theatre to him."For Carrey, who was coming off the acclaimed 1998 satire , it seemed only fitting that he should approach the role of Kaufman with that same spirit of playfulness and total commitment.
In the end, Carrey's performance would become something more than an exercise in Method acting, verging on an out-of-body experience.
“I read where you gave a show at Carnegie Hall and took the audience out for milk and cookies,” she said. This year, he plans to complete his third novel (none published), which he describes as “the story of a man’s life from start to finish.” When ABC’s hit sitcom Taxi (he plays the timid but sex-crazed immigrant mechanic Latka Gravas) lets out for the summer, he’d like to make a ninety-nine-cent national tour “so everybody can afford to see me.” Heartbeeps, in which he costars with Bernadette Peters, will be released later in the year, and he hopes to wrap up a screenplay, The Tony Clifton Story, for Universal. But it doesn’t take a profound comic mind to see where that is leading.
Clifton, a frog-voiced Las Vegas lounge lizard, is the strangest of Kaufman’s strange creations. Kaufman wanders onstage and begins lamely sing-songing, accompanied by tiny, mock-festive hops: “A hundred bottles of beer on the wall, a hunnerd bottles of beer …” The audience titters. Only Kaufman doesn’t seem to notice.“And when I get them,” he says, his voice, breathless, rising higher, “and they ask for an encore… “Okay, folks, a thousand bottles of beer on the wall.”Beyond laughter.
Kaufman, who died in 1984, was perhaps best known to mainstream audiences for playing the lovably goofy Latka Gravas on the sitcom theme song, wrestling women or appearing in the guise of a loutish lounge singer named Tony Clifton, his aim was as much to confound audience expectations and push the public's buttons as it was to deliver laughs in any traditional sense..