Dress to Kill may be my first release in America, but it’s my fifth overall, so I don’t have to worry about my second anymore. And more and more critical weight is put on each show. Now that you’re on movie sets more than in the comedy clubs, do you still collect observations like you used to?Ĭertain subjects and themes tend to fascinate you over time, like Woody Allen returns to Manhattan and relationships many times. They say it takes a lifetime for a band to make their first album, and then they have to follow it up a year later, hence the sophomore slump. I like that it lives on, long after you do it. In film, it takes hours to set up a shot, then you walk on, say your line, and the director yells cut.īut the beauty is, if you do it right, they edit it so tightly together, it’s then there forever. In stand-up or theater, you can hold a moment, or you can vary the timing night by night. I prefer doing films.īut of all the forms you do, film is the most constrictive for you as a performer. As for theater, I like doing theater, but don’t like the elitist audience that go to the theater. The latest thing I’ve done was The Cat’s Meow, playing Charlie Chaplin, with Kristen Dunst, and I also did All the Queen’s Men with Matt LeBlanc. Movies are probably where most people recognize me from. I didn’t realize you’ve done so much stage work. If you do more than one show a night, things get scrwy then too. And I once changed the order completely around, and I couldn’t remember what I’d already done. Sometimes I get a routine down perfect, but then I improvise and keep changing it, making it less perfect. Yes, because I have a low boredom threshold. But if they expect hit and miss, when you get a hit, it’s really a wow… If they’re expecting finely-crafted comedy, that’s not what they’re going to get. The trick, I find, is to lower the expectation of the audience. The audience will suggest one word, and then the four of us will freestyle and go off on tangents. Yes, I did a couple of episodes of that, and I also did another improv show after that, one-word instead of game improv, which I actually prefer. I’m actually taping this interview over my Ryan Stiles interview from a couple issue ago, and I realize you were a guest on the British Whose Line is it Anyway? Also, if English is someone’s second language, and I’m mumbling away at full-speed, not to mention all the slang, there are probably plenty of occasions where people’ll say “What did he say?” There are also subtitles in French and Spanish and English.įor the hard of hearing. It seems a little self-indulgent, perhaps. Which is weird, when you think about it: Commentaries on spoken word stand-up. We used music from a documentary on the Civil War, and I do commentaries over the top. There’s a photo documentary on it, because we didn’t have a making-of documentary. If the suits always want to own the copyrights, then duh, maybe the copyrights are the thing to own. I did accounting at university as well, so I’m not stupid. Comedy and music are similar in that way, unlike films, where it’s very difficult to retain control. Yeah, but so were Chaplin, Lucile Ball, and various others. You’re really kind of a control freak, huh? We’ll see where we get to as time goes on, but it seems like a good place to be. Anti hadn’t done comedy DVDs before, so I’m taking a calculated risk, but I wanted to try it out. They have Tom Waits as well, an old colleague of mine. You hooked up with an interesting company, a record label…Ī punk record label, yes. HBO said they wanted to do a special, and I said I’d already filmed one, and keep in mind, this was my fifth filmed show… So even though it aired repeatedly on HBO, you own Dress to Kill? I own the copyrights, and I didn’t want to just throw that away. I turned down other offers because I wanted to continue to own the thing. Yes, and it’s my first release in America. Dress to Kill was shot and released in the UK in ’98, was shown on HBO in ’99, and it got two Emmys in 2000. That’ll come out in Britain this year, and America probably soon after. I own them, so I put them out when I want to, and sometimes that’s not immediately, to say the least. I did another one in ’00, Circle, but it hasn’t come out yet. Transcribed using the screenplay and/or viewings of Eddie Izzard: Dress To Kill.I didn’t realize that the Dress to Kill special on HBO that Anti/Epitaph just released was recorded back in ’98.Īnd it’s my fifth show as well. This script is a transcript that was painstakingly Script is here for all you quotes spouting fans of the transvestite comedyĬoncert movie. Script - Dialogue TranscriptVoila! Finally, the Eddie Izzard: Dress To Kill Script - transcript from the screenplay and/or transvestite comedy concert movie
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