I want to be Elliott Gould (when he wasn't crap)

haha

"Robert Altman knew who Dave DeBusschere was and Bergman didn't."

fuck, i need coffee

I love how for the first half hour of the Long Goodbye you can't understand a single word Gould is saying, it's just one long grumble.

"Hey, man, that's cool."

It's OK with him

i watched little murders after reading about it in this thread,christ it was strange!

really enjoyed it overall,parts of it were hilarious,although it did sometimes veer a bit too close to a monty python sketch

I had forgotten about the satiric arias (Lou Jacobi as the judge, Sutherland as stoner minister, Arkin as bananas detective, Gardenia on police statism).

When Gould said that prior to his 7-minute one-take monologue he smoked a joint, one on-cue "WHOOO" from audience. There's always one.

Gould: "Well, I don't think I'm there yet, Jean-Luc..."

ha!

Godard directing this would have almost been too much. Keep remembering the Q&A you guys. Someday I'm going to watch the commentary on the DVD.

http://blog.spout.com/2008/08/09/elliott-gould-takes-brooklyn/

Getting Straight tonight.

so I did not detest The Touch at all. A good brief review:

http://www.cinepassion.org/Reviews/t/Touch.html

check out Little Murders, 1971. the best Gould movie ever

watched this last night - pretty good, dragged in a few places and suffers from its roots on the stage, but lots of good performances and one or two really funny monologues. Eeriest thing to me was that everybody in it really LOOKS like a Jules Feiffer drawing (ie, great casting)

(but no way is it the best Gould movie ever! wtf)

apparently he was in the first London On the Town in 1963

The al davis version of the long goodbye poster rules. I ordered one to frame for my bedroom.

ya it is amazing.

amazing ya

ya

amazing.

Busting is a very strange movie - lolz @ Gould and Berretta dancing together while attempting to pass as gay in a gay bar

totally reactionary politics, a young Michael Lerner, many MANY shades of brown...

y'know, Gould's doing his laconic-NY Jewish-smartass routine, Beretta is the hardass - but they're VICE cops, so its not like they're taking down murderous drug dealers or something, they spend most of their time trying to entrap expensive prostitutes and beat up hapless homos while simultaneously bucking the corrupt "brass". the tone is really strange.

B.J. Novak from the Office reminds me of a young Elliot Gould.

And I love the Long Goodbye because it seemed like there were a couple of pointless and languid scenes w/ Gould's character running errands of no importance. More movies need to show their character buying cat food in the middle of the night imo.

^^^ haha yes. love the muzak version of the theme playing in the grocery store

anyone catch the nod to that in wendy and lucy

http://farm4.static.flickr.com/3008/2983000060_93a6c600af_o.jpg

watched some more of Busting last night - so weird/goofy. Beretta and Gould spend an inordinate amount of time in a public bathroom trying to "catch a pervert", except it all seems kinda gay... I mean two guys standing in a stall talking to each other, ummm.... then there's the part where they can't get a warrant from a judge because its the middle of the night, so they go to the suspect's house break-in, find some armed hoods, and proceed to chase them into a crowded open-air market. So Gould and Beretta are exchanging gunfire, telling the bystanders to get down and everything but... its like 4 in the morning, why are there all these people at the grocery store? Then Gould lambasts some fellow cops who fail to help by calling them "pigs"!

so wtf

also this movie is very brown

And I love the Long Goodbye because it seemed like there were a couple of pointless and languid scenes w/ Gould's character running errands of no importance. More movies need to show their character buying cat food in the middle of the night imo.

― Cunga, Tuesday, July 21, 2009 7:00 PM (1 week ago) Bookmark Suggest Ban Permalink

By far my favorite scene in Bullitt is the part where McQueen goes and buys all the TV dinners at the supermarket/convenience store.

Couldn't someone change the title of this forum? when i did a google search for 'the Long Goodbye' this thread came up, I think it's a shame especially since Elliott Gould was never 'crap'- some of his films have been clunkers but who hasn't had those.

no

Corrected: Elliot Gould was never always 'crap'

Godard replied that whenever his wife and child asked for his love, he told them to go fuck themselves

lol

SB alex

Alex replied that whenever his wife and child SB'd him, he told them to go fuck themselves.

i heard he just sb'd them back

watched the silent partner, it's ok. elliot is kinda a blank slate in it, even moreso than usual. christoper plummer is solid and creepy

When not working, Gould spends much of his time studying the Torah. He is a favourite student of some of Los Angeles' most eminent rabbis and a friend of Chabad and the Lubavitchers. "I'm an unorthodox Jew in the way I live but I have a deeply felt reverence for the ultra-Orthodox," he says.

So what does it mean to him to be a Jew?

"I just accept it. My trips to Israel remind me that there you're free to be a Jew and it's great to be free to be a Jew. I like to be free to be what I am. I find that in this world there's very little that I can depend on. There's almost nothing. But I really appreciate - and not to be pretentious - the law, the Torah."

http://www.thejc.com/arts/arts-interviews/42716/interview-elliott-gould

Thanks buzza for posting that link, Elliott is what it means to be a Jew, compassionate, educated, i love that he truly loves Israel.

I know my dad used to watch his doctor sitcom.

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― Dr Morbius, Friday, July 25, 2008 3:50 PM (3 years ago) Bookmark

^this. the originalE/R. I used to watch with my mom when I was a young kid (ie some time in the late 80s) like, on WGN, or something. First encounter with Elliott Gould, who seemed awesome back then. Had little to no inkling that he was in some great 70s movies then.

Also had little to no inkling that he was in Little Murders, a movie I've been wanting to check out since Dave Sim credited it as the inspiration for the finale of Church and State.

(hope I didn't trivialize your revive, bobo)

hey bobo, i found this article which covers some of the same ground. gould seems like such a great guy.

http://www.midnighteast.com/mag/?p=1697

Anyone ever seen Move, one of his 4 movies in 1970? He's doing a Q&A at "Jew Wave" when they show California Split:

http://www.filmlinc.com/films/series/hollywoods-jew-wave

Hollywood’s “Jew Wave” forever changed the landscape of mainstream American movies and blazed the trail for such Jewish stars of today as James Franco, Natalie Portman, Seth Rogen, and Adam Sandler.

this makes me sad

only thing(s) i remember from Move are Paula Prentiss' boobs

a couple years old, covers some familiar terrain, lots of stuff about The Long Goodbye:

http://thehollywoodinterview.blogspot.com/2009/05/long-goodbye-elliott-gould-remembers.html

https://www.youtube.com/watch?v=S1byABFXyao

holy shit I had no idea Bujold was in Noah's Ark.

http://25.media.tumblr.com/a4e69cc5a2bf70018310827c634737c3/tumblr_mpdrm2fSa51r7r8e0o1_1280.jpg

He is playing "the gushy, gay neighbor" on the new Fox sitcom Mulaney.

Elliott, George Segal and California Split screenwriter Joseph Walsh yakking nostalgically about all sortsa things with Kim Morgan:

EG: [Working on MASH] sometimes Bob would get flustered. We were fighting the clock and he has got to do it a certain way by a certain time otherwise you go into golden hours. And I remember the scene in MASH — and it was actually around that scene that Sylvester Stallone, who I’ve only met a couple of times, said he doesn’t admit that he was ever an extra in any movie but he admits that he was an extra in MASH. And when I told that to Bob he said, “No. I don’t accept that Sylvester Stallone was in my movie. I don’t accept it.”

[Everyone laughs]

EG: So that day we have a really complicated, delicate crane shot and we’re fighting time for lunch. And, you know, it’s all the surgeons are working triple shifts and we’re talking non sequiturs and there was the script and then we go to lunch. We were at the Fox Ranch out in Malibu, and Bob said to me, “Why can’t you be like someone else?” And I had my lunch on a tray. And he pointed to Corey Fischer, you know, and said, “Why can’t you be like him?” Who was a part of The Committee, an improvisational group that Altman hired. And I shook my lunch, I threw it up and I said, “You motherfucker. I’m not gonna stick my neck out for you again. You know and I know where I come from. I know precision, I know repetition. You’ll tell me what you want and that’s what you’ll get.” And he said, “I think I’ve made a mistake.” I said, “I think so.” He said, “I apologize.” I said, “I accept.” And that’s when Paul Lewis the production manager for Getting Straight came out to meet with me for the movie which was my next picture. And Tarantino said it’s a part of his library. He’s got Getting Straight there.

KM: Yes, he loves that movie.

GS: What had Ingmar seen you in that got his attention?

EG: He had studied … but Getting Straight. He said, when he saw Getting Straight.

GS: I’ll be damned.

JW: Oh, so that’s how Ingmar Bergman came about?

EG: Yeah, also I was really hot. So, you know, I mean …

KM: What was it in Getting Straight that he responded to so much?

EG: He said it was a scene in Getting Straight — there was something where my character was in such a rage. There was just a rage in me. It would almost be like me facing the Tea Party right now, you know. There was just a rage and an insult and Ingmar said to me, “You showed great restraint in that scene.”

JW: Taking an American actor, that was a big deal at the time.

EG: Oh God, yeah, everybody in the universe was up for it. [For The Touch] I almost didn’t do it. I said, but how can I say no. You know, let’s see if I can …

KM: You almost said no? To Bergman?

EG: Well, here’s the deal. I was making a living for my family for the first time. And you know, and I didn’t understand anything. We had Begelman and them but they were in it for what they could get out of it. I didn’t know. I didn’t understand myself. I didn’t know anything about meaning. You know, if I could do something for my family but even then you get to the family. You’re more educated formally than the rest of us, George? Dartmouth, right?

GS: Columbia.

EG: Columbia? I met somebody who was at Dartmouth. I have his card. I like to get it clear.

JW: I’ve got a few dollars on Columbia.

GS: Oh right, yeah.

[Everyone laughs]

EG: So that sort of worked out. But it was tough. Oh yeah, making a living. I don’t know how I’m gonna act with the best actors in the world with Bergman. I mean, Bergman didn’t write scripts like we do with indication of direction; it’s like a novella. I thought, oh my God, I can’t expose my ignorance to that, but I can’t say no. So they had him call me in the West Village. [Does Bergman voice] “Hellloooooo. Little Broooootherssssss.”

JW: What did he say?

EG: [Bergman voice] Liiitttttlle Brottttthhhherrrrrr.

JW: Little Brother?

EG: Little brother. He called me that. And so my hair stood up. And I thought, oh, I can trust me with him and him with me. It’s like I talk to a dog or a baby. And so I came. And, whoa, that was really interesting.

http://lareviewofbooks.org/interview/california-split-40-years-later-interview-elliott-gould-george-segal-joseph-walsh-three-parts