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Audiences have morphed in a funny way. People who saw the movie were now coming to see the play, and they don't know how to shut up and watch a live show anymore. People were missing stuff because they were talking, translating things for each other, talking about how it was different than the movie. And I'm like, shut up until after the show. It's like people decide that a $110 ticket gives them permission to do what they want regardless of the fact that there's a live show up on that stage.
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I used to love doughnuts. I can't do it anymore. If I ate every doughnut that looked good to me, I'd be 300 pounds.
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Michael: We see a lot of musicals in the course of our lives: classics that aren't so classic, supposedly groundbreaking stuff that doesn't break more than wind. And we thought, 'We can do that,'" McKean says. We've written about a dozen songs, and we need to write a few more. Every day we get closer to putting it all together.
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Michael: I think there's also a sense that people watching TV feel their lives are equal to the people — the characters — they see on these allegedly real shows. And these viewers are starting to live like they're on TV. Cell phones have a lot to do with it, and all the public conversations, the breakups, the settling hash with each other in full view. We now overhear what used to be private and secret. The line is sufficiently blurred.
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Michael: the word reality has gone the way of genius as a completely devalued word. It doesn't mean what it's supposed to mean.
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Michael : I know... I'm pretty smart, aren't I?
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Michael : Well, the boys in Spinal Tap aren't quite as bright as the guys in The Folksmen.
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Michael : That's a job that it makes a few friendships, but it probably breaks more.
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(Talking about co-writing songs with his wife)
Michael McKean: When we've done it - and this sounds like I'm talking about sex, doesn't it? - we've done it every way you can.
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Michael: I love the Pythons. I love the various shows that they evolved from. And, Beyond the Fringe before that, and The Goons before that. I just have that English funny bone.
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Michael: My character is very much the guy who was always in it for the money, and when the money ran out, he found something that paid him even less, but it was steady, for 30 years.
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Michael: Hollywood is really all about cruelty disguised as friendliness. In a nutshell, that's it. And that's what guided us through the shoot.
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Michael:It was pretty sickening, generally, so I think they probably kept us apart on purpose for that very reason, because we're so nauseating. We're not actually. We're precious."
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Michael: A lot of them are fans of what I do in my day job," he says, "my silly movies with Christopher Guest and company, like 'Best in Show' and 'A Mighty Wind.' But they hadn't seen me do anything dramatic. I'm mostly comedy-ghetto guy, which is fine.
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Michael: You know, I think it's one of those cases where the situation really does dictate your level of ridicule.
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Michael: 'm kind of the town pump. I think I have a pretty good ear for what sounds good in this style.
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Michael: Sometimes we have to look to other performers to kind of spark us, but there is something kind of "old home week" about us. So I've never really felt the battery run down on these shows.
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Michael: The whole process was just so much fun. Also, watching people who weren't primarily instrumentalists - watching them pick up instruments... Parker Posey never played the mandolin before.
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Michael: Some people stay in the academic world just to avoid becoming self-aware. You can quote me on that.
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Michael: Even when there are banalities, they're usually kind of benign banalities.
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Michael: Following Harvey [Fierstein] is a little like following the Beatles!
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Michael: When we can figure out a way to really tour and make a profit, then we'll do it again.