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Woody Allen discusses his life and art, the influence of both success and failure on his work, and how he finds comedy in life’s difficulties and trials. He discusses his first screenplay, “What’s Up Pussycat?” and other comedians who have influenced the development of his own comedic work, including Mort Sahl, Charlie Chaplin, the Marx Brothers, and George S. Kaufman.
Lily Tomlin and her colleagues, George Boyd, Cheryl Swanek, Louis St. Louis and Larry Freeman talk about their working together. St. Louis says working with Lily is similar to being on an eternal vacation. Freeman says Lily will tell you if there's a problem with the production. Four of Tomlin's comic pieces are included in the interview.
Charlotte Chandler discusses biography on Groucho Marx, "Hello, I Must be Going". Includes songs and excerpts by Groucho Marx, such as: "Hello, I Must be Going;" "Hooray for Captain Spaulding;" "Omaha, Nebraska;" "A Day at the Races;" and "Five Marvelous Pretzels." Includes recitation of "Six Flying Hamsters."
In this interview Carol Channing discusses her work as artist: comedic timing; live/club performing; her connection with the audience as a performer; theater as a "spiritual world"; the concept of "opening nights"; creation of Mehitabel's (alley cat) voice; "Lorelei", and her ability deliver comedic characterizations and impersonations (such as Marlene Dietrich, Sophie Tucker, and Cecilia Sisson). Included in this interview are excerpts from the "Little Girl from Little Rock", "Madeline and Other Bemelmans", "Shinbone Alley".
Carlotta Monti discusses W.C. Fields and her book "W.C. Fields & Me".
Silent film pioneer Buster Keaton discusses his career following the release of "When Comedy Was King," a compilation of some classic shorts by Keaton, Charlie Chaplin, Harold Lloyd, and others. Keaton reveals how they shot the early silent films, generated material and gags, how they planned big chase scenes, the resurging European interest in silent classics, and more. Studs asks Keaton about the stylistic differences between him and Chaplin, whether he would recreate silent films, and how they compare to today's film-making.