Posts tagged ‘Eric Idle’

The 7th Python: The Twat Stage

This week we are starting the second phase of social media publicity and marketing for my book The 7th Python. Previously we used as visuals the clever cartoon cover of the book by Owen Williams and two Gilliam-style animations that Ruth Barratt made for us. The copy was focused on letting people know about the book and its subject matter. But the book also has a sub-title: A Twat’s Tale. This is the name that Eric Idle called me, and so I took it on for the book. For this next phase we are going to use the same graphics but this time we’ve come up with some items- funny and informative – that have to do with twat, and yes, I’m afraid that both Donald Trump and Twatter do make an appearance.

Patrice Stephens is again doing our Digital Publicity with Nigel Passingham in charge of the campaign.

http://www.the7thpython.com

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April 2, 2016 at 2:29 pm Leave a comment

Press Release for The 7th Python – Part 1

Here is our first Press Release for The 7th Python:

BOOK LAUNCH

THE EPIC STORY OF A FILM PRODUCER, BRITAIN’S BEST-LOVED COMEDY TROUPE, A CLASSIC COMEDY, AND HOW 40 YEARS ON THEY CLASHED IN A TRAGI-COMEDY OF BONE-BREAKING GREED, AND HEART-BREAKING DESPAIR.

STARRING MR JUSTICE NORRIS, THE LORD OF INJUSTICE, MONTY PYTHON AND MARK FORSTATER, FALSELY YCLEPT A TWAT.

LITERARY EDITORS SHOULD KNOW YCLEPT IS OLD ENGLISH FOR ‘CALLED’. SEE THE PRODUCER’S TALE DIRECTED BY GEOFFREY CHAUCER.

Monty Python and the Holy Grail is a comedy classic. Consistently voted in the top ten of all comedy films, it is the most profitable independent film ever made in the UK and has achieved worldwide box office success. Forty years on it is still screened.

The young man who produced the film was Mark Forstater, an American from Philadelphia who shared an apartment in New York with Terry Gilliam, before coming to England in the mid-Sixties to study at film school. Forstater liked the country so much he decided to stay and has been living and working here ever since.

The 7th Python (A Twat’s Tale) tells the story of the ups and downs in the making of Monty Python and the Holy Grail. It lifts the visor off the sometimes brilliantly creative, sometimes fractious relationships between the Pythons. They were comedy icons but they were also, cue cliché, human with all too human frailties, which Forstater describes sans cliché.

Everything was fine, rosy and profitable until Eric Idle came up with the idea for Spamalot, a stage musical based on the film. Spamalot became a smash hit. As producer of the original film, Forstater was entitled to a percentage of the profits from the film and its spin-offs. But then his share of the royalties was arbitrarily slashed. Did anyone consult the ‘twat’? No, though for 30 years and more Forstater had received his agreed share.

Forstater tried to talk to the Pythons; he wrote to them; he tried to negotiate. But the mighty Python was stubborn as a goat. (Note to editors: mixed metaphors intentional.) So Forstater had to go to law which led to Eric Idle dubbing him a ‘twat’.

Forstater tells of his trials and tribulations before, during and after the trial. For seven long years, he tried to get the Pythons and their management to see reason, and for seven long years, he failed.

The final section of the book offers a lesson for those thinking of going to law. After endless writs, witness statements, witless statements, etc., the Pythons appear in court. The judge says the original agreement could have been drafted better. It ends moderately happily for Forstater – he wins – and very happily for the lawyers in that they all get their fees.

Forstater was sustained in this ordeal by his belief in the Tao. He is the author of The Spiritual Teachings of Yoga (with Jo Manuel), The Spiritual Teachings of the Tao, The Spiritual Teachings of Marcus Aurelius, The Spiritual Teachings of Seneca (with Victoria Radin), The Living Wisdom Of Socrates and with Rudolf Reder I Survived a Secret Nazi Extermination Camp (Psychology News).

A must-read for Python fans and anyone interested in comedy – and human frailty.

Press Inquiries to Nigel Passingham – mob.: 07795024272, email: nigelpas@live.com

February 8, 2016 at 3:00 pm Leave a comment

Michael White and The Holy Grail

I’ve just been watching The Last Impresario on Imagine (BBC1), a film about Michael White, the theatre and film producer. Michael was the exec producer of Monty Python and the Holy Grail, and he invested 50% of the budget. I liked Michael very much, and we worked well together. We eventually went on to do other things. such as a production of Woody Allen’s The Bluebird Of Unhappiness. He was incredibly helpful on the Holy Grail, because when we had a terrible preview of the film, Michael didn’t panic but helped to put up the additional money to redo the soundtrack. He was cool in the face of seeming disaster. Here is how I describe it in The 7Th Python:

The Disastrous First Screening

It was one of those evenings when Python flopped. – Terry Jones

Back in London, we worked hard to produce a cut of the film that we could show to the other Pythons and the investors.

The preview took place on October 1 1974 at the Hanover Grand Preview Theatre in central London. We had invited about 200 people, including most of the investors. This screening was one of the worst film experiences of my life.

Every screening has a certain mood that you can feel in the theatre, and the mood at the end of that screening was certainly pretty grim. People weren’t responding, they weren’t laughing the way they should have been. There was laughter at individual scenes, but no sustained build-up. The main problem was that the sound effects were too prominent. Because the comedy is quite slight, the jokes need to have a context in which they work, and if you overwhelm them with sound, they will just get drowned, which I think is what happened.

This was the first time that either of the two Terrys had ever done this kind of film sound mixing, so it’s very easy to try something which doesn’t work, and at that point it can all be thrown away, can all be redone. But someone who doesn’t know the technical side, might think looking at it, “God, this is it, and we’ve got to live with what we’re currently seeing,” which of course is not the case. A certain amount of inexperience may have led people to think it was a disaster which couldn’t be repaired.

Afterwards, there was a feeling of “This is a mess, what have we let ourselves in for?” I think there were people who probably felt the film was a lost cause. And it’s
very easy, when you’re in a position like this, to panic.

Eric Idle walked out halfway through the film; everyone else stayed to the bitter end. There was polite applause at the end. (Michael) White and (John ) Goldstone (executive producers) didn’t speak to the Pythons.

Here is how everyone remembered the event, in David Morgan’s book, Monty Python Speaks:

TERRY JONES: Terry G. had done the dub, and you know what it’s like when you’re making a film: you’ve got two or three sound editors working away for months and months building up wonderful, incredibly thick soundtracks. It started off everybody laughing at the beginning and then after a while just nothing; the whole film went through [with]
no laughter at all. And it was awful, I was sitting there saying, “It
just can’t be unfunny.”

JOHN GOLDSTONE: We’d already spent all the money by then and couldn’t quite go back to them and say, “Can you put up some more because we’d like to refinish it?” So we had to go to a bank and borrow money against personal guarantees to make up the difference.

TERRY JONES: So we went and redubbed it and as soon as anybody started talking I just took all the sound effects out, all the atmosphere, everything. I went through the entire film doing that, and that seemed to help, it was something about the soundtrack filling in all the pauses.

TERRY JONES: Neil Innes’ music sounded quaint, it didn’t have an epic
feel to it. And we’d run out of money by that time, so I went along
to De Wolfe Music Library in London and just took out piles and
piles of disks and just sat here at home trying out music to it, trying
to get something to work. So it felt like what you needed was really corny, heroic music.

NEIL INNES: The Arthurian themes were too thin with the instruments we had available- two French horns, two violins. Terry rang to say we can’t use the music because it’s just not strong enough. The 12 piece orchestra couldn’t cope with the 120 piece orchestral sound that the film required. Artistically it was a better solution to go to a library to get epic music. We would never have had the money to record that size score. I wasn’t that disappointed. I understood it. If it was my film I would have made the same choice.

We had some very heavy meetings over the next few days, a post mortem to see if we could bring this dead film back to life. Michael White was very supportive; he didn’t panic and I was glad that I had kept him involved in the production. In the end we remixed the film, bringing down the level of the sound effects to let the dialogue punch through, and added the mock heroic library music score. We knew there was a good film buried there, and if we went back and remixed it, we’d have a funny film. The next screening was very positive. Now we knew the film was very good, it was very funny, it was working well. I think everyone was very happy with it. So it was really night and day.

If the Pythons had not owned the film, the director (or directors) would probably have been replaced at that point, or at least told to stay out of the cutting room. But the structure I set up meant that even through a disaster, the two directors had the time (and we had to find the extra money) to let them correct their initial work.

Everyone benefited from the great success of the film, and thirty years is plenty of time for memories to blister and fade so that some of the Pythons seem to have had a bout of amnesia concerning who raised the money – and much else. The two Terrys, Graham and Michael all knew what my role had been, but Cleese and Idle had no involvement with the setting up of the film, so had no idea as to what I had done for them. This became a real problem when their management changed, and (their former manager) Anne Henshaw was no longer there to keep alive that memory.

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December 2, 2015 at 12:23 pm Leave a comment

(Eric) Idle Musings

Eric Idle hates me. The reason is not difficult to find. I sued him and the other Pythons for trying to reduce my royalties from Spamalot and the Judge decided in my favour. After the trial he called me a loser, an idiot and a twat. This is very odd, since I should really hate him for having forced me to spend over 7 years pursuing this stupid case, which caused me many serious problems- poor health, financial woes, great stress. Yet he hates me. Here is what he said during his cross-examination:

Tom Weisselberg (my barrister): Do you think that your position in these proceedings –
Eric Idle: Yes.

Weisselberg: — is being inspired by, I will put it bluntly, a dislike of Mr. Forstater?
Idle: I am hopeful that I am trying to be as honest as far as I possibly can be and that my dislike, as you put it, of Mr. Forstater does not influence my honesty in reporting to you the answers to your questions.

Weisselberg: Do you have a particular animus against Mr. Forstater, Mr. Idle?
Idle: Only recently.

Weisselberg; Is that because of the fact of these proceedings?
Eric Idle: It’s ingratitude.

Idle seems to have ingratitude always on his mind.

But he didn’t just call me ungrateful, he also said of his fellow Pythons, “I’m making them money, and the ungrateful bastards never thank me. Who gave them a million dollars each for ‘Spamalot’?” So ingratitude must mean, for Eric, that people who have helped him become a multi-millionaire have failed in their duty to constantly thank him for allowing them to do so.

Idle says I am ungrateful because I did so well out of Producing Monty Python and the Holy Grail, so I shouldn’t complain if the Pythons decide to try chisel me out of Spamalot royalties. My taking them to court was a form of ingratitude. Funny, I thought I was just standing up for myself.

Weisselberg: Mr. Idle, it is right, is it not, that since Spamalot has made so much money there has been a fair amount of publicity as to which Python thinks that they have had the better of the financial deal?
Idle: We have squabbled since we first met. We are brothers, we are children, and we are comedians. But we love each other and we get on very well. The press does like to exaggerate these things and I have emails from John Cleese only yesterday.

Weisselberg: You have complained that some of the other Pythons have been ungrateful as to the amount of money that you have managed to generate for them.
Idle: I may at some times and — I have been promoting this thing since 2004, so I have answered a tremendous amount of questions and there is a selection of responses that have been selected.

Weisselberg If you look at Bundle D3, p.1047 one sees in the paragraph on the subject of money: “He is candidly regretful about his decision to hire a lawyer to represent the Pythons’ interest in Spamalot. Over a recent lunch with Observer writer Simon Garfield, he pointed out” – that is you – “that with a third share the others are being paid over the odds without doing very much”. Is that something that you said to the Observer writer, Mr. Idle?

Idle: It reflects possibly a bitterness I was feeling at the time. Insofar as I gave them Marcia Brooks, my lawyer, because I was concerned about conflict of interest, and she negotiated against me the highest percentage that has ever been received in Broadway history. Normally they would have been entitled to X% and John du Prez and I had to settle that they would take Y%.

Weisselberg: I think the terms of the deal are confidential. Certainly I have understood that they are.
Idle: Then forgive me, I just breached confidentiality inadvertently.

No matter how wealthy he becomes, it never seems to give Idle any contentment. He once called one of his tours The Greedy Bastard Tour and one wonders in this instance where is the border between comedy and truth?

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November 18, 2015 at 10:54 am Leave a comment


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