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Bill Murray Finally Called

Reprinted from the Washington Post, here is a hilarious two part story by national arts reporter Geoff Edgers. Attempting to profile Bill Murray to coincide with the ceremony to award this year’s  Mark Twain prize for Humor, the reporter pursues a phone interview with the elusive comic actor. Filled with fresh anecdotes, the article is a hoot. Having failed to land the interview, Edgers published the piece.

And then Bill called.

The greatest role of Bill Murray’s life has been playing Bill Murray.

by Geoff Edgers

Let’s start with one of those crazy Bill Murray stories.

A couple of years ago, a guy named Ted Melfi had a movie idea and desperately wanted Murray to star. Except Melfi had never made a movie before. In a normal universe, unknown first-timers can’t get scripts through managers to major stars.

Except that Murray doesn’t have a manager. Or a publicist. Or an assistant. He has an 800 number and voice mail. Melfi wrangled that number from a producer friend.

He left messages. Lots of messages. Then one day, Murray called. He asked Melfi to meet him at Los Angeles International Airport. They drove around and ate cheeseburgers, talked script, and then Murray told Melfi the news. He’d do the movie. “St. Vincent” came out in 2014, a critical and commercial success.

“I owe everything I have in my life to Bill Murray, outside of my general health,” Melfi says.

We are on the phone because I am pretending that Melfi’s story is my primary interest when, in fact, it’s just a decoy. I want the 800 number. I don’t have a script to pitch. I have a story to do. On Sunday, Murray will receive the Kennedy Center’s Mark Twain Prize for American Humor. In July, my editor assigned a profile, and I’ve been trying to reach him ever since. Talking to other famous people about Murray has been easy. Over several weeks, I’ve interviewed David Letterman and Howard Stern, directors Ivan Reitman, Wes Anderson and Sofia Coppola, former “Saturday Night Live” colleagues Dan Aykroyd and Laraine Newman, and legendary SNL writer Jim Downey. But no Billy.

I tell this to Melfi. I also explain that I’ve been told — through a message from the comedian’s attorney — that Murray might be mad at me, though I wasn’t sure why. I had responded by sending Murray a note, through that attorney, to clear the air. Still, nothing. Would Melfi be kind enough to pass me Murray’s number? He laughs.

“There’s an unwritten law with Bill, and everybody knows it,” he says. “You don’t give out his contact information ever. And no one will ever do it.”

There’s a moment of silence on the phone.

“You don’t need Bill Murray to make it a great story,” Melfi says. “ ‘Bill Murray was unavailable for this story.’ That’s the story of Bill Murray.”

‘He took all the light bulbs’

Actually, there are many stories of Bill Murray.

Murray was a guest on the debut of “Late Night With David Letterman” in 1982. He began a hilarious, mock-harangue of Letterman followed by a lengthy mock-apology. (Nancy Kaye/AP) 

Here’s one from David Letterman.

Friday, Jan. 29, 1982. Letterman is nervous. Back then, he’s not the retired king of late night. He’s a gaptoothed, former weatherman from Indiana fresh off a canceled morning show. “Late Night With David Letterman” is set to premiere Monday. The host leaves his office to film a remote. While he’s gone, Bill Murray, the guest scheduled for the debut, stops by to meet with his writers.

When Letterman returns, the “Late Night” offices are dark, the staff gone. The receptionist delivers a report.

“First, he took all the light bulbs out of the writers’ room because it was hard to concentrate with artificial light,” Letterman recounts. “Then he said, ‘You know what we really need to do?’ Then Bill takes the writers out for rum. They say there was drinking and they all got really drunk and had to go home. And I thought, ‘Oh, God, what’s happened here?’ ”

That Monday, Murray blasted onto the set and began a hilarious, mock harangue of Letterman followed by a lengthy mock apology. Hopping out of his chair, he spoofed the aerobics craze by performing Olivia Newton-John’s “Physical.” It was a model for future Murray appearances.

“Somebody would always come up to me and say: ‘We have a problem. Bill is not here yet,’ ” Letterman says. “And each time that happened, I learned to not take it seriously. Bill was never late. Never missed a performance and was always well prepared and the best thing of the year on the show.”

Conflict can serve creativity

The Twain Prize is the most prestigious comedy award in the field, with past winners including Richard Pryor, Carol Burnett, Steve Martin, Eddie Murphy and Tina Fey. You would think the latest recipient would want to talk about it.

Not Murray. As August turns to September, he remains elusive. His attorney won’t reply to my emails or calls. His friends — Melfi, Reitman, writer Mitch Glazer, producer Fred Roos — offer sympathy but decline my plea for help. They don’t want to annoy him by nagging.

I wait by the phone. What makes the Murray silence so frustrating is how easy it is to track him.

During the months he’s avoiding me, he’s spotted plucking fries off the plate of a random diner at an airport, tending bar in Brooklyn, leading an “America” cheer at the Ryder Cup golf tournament, and cheering on the Cubs.

Of course, there’s a big difference between sitting in the bleachers and sitting for an interview. True profiles of Murray are hard to find. Perhaps the most revealing piece about him dates to 1988 when the late Timothy White, in the New York Times Magazine, visited Murray and his first wife, Mickey, at their home by the Hudson.

Last year, Glazer persuaded Murray to participate in his Vanity Fair cover story, but “even that wasn’t easy, and I’ve known him since 1977.”

Occasionally, as a favor to a filmmaker, Murray will do those interviews pegged to a movie that’s coming out. But even those arrangements rarely go as planned. At the Toronto Film Festival for the premiere of “St. Vincent,” Melfi remembers Murray disappearing at one point. Instead of doing more press, he had gone to a friend’s house to make waffles.

This is the Everyman Murray, the crasher of kickball games and karaoke jams, who would rather borrow your 10-speed than preen on a red carpet. Friends have been describing his feelings about receiving the Twain as “ambivalent.” And don’t try to talk business with Bill.

“You just don’t do it,” Aykroyd says. “Talk about anything else and everything else and you start to bring up the business, like some kind of pitch, like you’re trying to angle him, you’ll turn around and there are those taillights. That’s the Maserati turning. Go chase him. You aren’t going to catch him.”

‘Same old thing’

Howard Stern remembers the first time he noticed him. It was 1977, and Murray had been brought in to replace Chevy Chase, a huge star, on SNL.

“My first reaction was, who the f— is this guy to come on?” Stern says. “And then, like out of nowhere, he started doing that thing. The lounge singer. He wasn’t nervous. He wasn’t trying to win me over. But he won the audience over in minutes and didn’t even seem to be breaking a sweat.”

Murray’s “Saturday Night Live” lounge singer character Nick was “so happy and so unapologetic,” says Jim Downey, who was a writer for the show. “You don’t end up feeling sorry for him.” (Alan Singer/NBC/NBCU Photo Bank via Getty Images)

“Nick,” as the character went by, left his shirt open and wore a red neckerchief. His medleys could dart from Crystal Gayle to John Williams’s “Star Wars” theme, campy lyrics added with fluttering eyelashes. In another performer’s hands, the joke might have been a mockery of every Holiday Inn lounge lizard. With Murray, Nick became not just forgivable but lovable.

“The character is so happy and so unapologetic,” says Downey. “You don’t end up feeling sorry for him. It’s a strange, acquired taste, and typically most people don’t find the bad version of something funny.”

Bill Murray playing at the 2016 Ryder Cup Celebrity Matches in Chaska, Minn., in September. Early in his career, he worried that working on the movie “Meatballs” would cut into his time on the fairways. (Sam Greenwood/Getty Images)

Murray’s leap from SNL to movies may seem natural now. John Belushi and Chase had gone before, and many others would go later. But at a point when most young actors would just be grateful for a bit part, Murray haggled over his starring role in “Meatballs.” It wasn’t about the money. Reitman scheduled the shoot for the summer of 1978. Murray worried that making the summer-camp comedy would cut into his time playing golf and baseball during the SNL break. When Murray finally agreed, though, he came to work. The first day on the set Reitman noticed the actor holding a rumpled script.

“Up to that moment, I wasn’t really sure he had read it. The first thing that he said was, ‘This is crap,’ ” Reitman says. “The first scene is where he’s introduced to the CITs [counselors in training]. He did the script, but he changed every single line.”

Murray would largely improvise the film’s famous “It just doesn’t matter” speech, and at one point, Reitman got a closer look at the actor’s copy of the script. He had scribbled the letters “SOT” on almost every page. It stood for “Same Old Thing.”

“The first mistake people make is to think because he is so spontaneous and puts on an air of not caring that he doesn’t care. But the fact is, he really does care about the work and is very precise and professional about how he conducts himself,” Reitman says. “He hated guys who went for the most obvious. He’d say: ‘I’ve seen that before. I’ve seen some version of that before. It’s the easy joke.’ ”

‘Wake me the hell up’

There is a purpose to how Bill Murray lives his life.

Aykroyd, who co-starred in the first two “Ghostbusters” movies, talks of the failed attempt, over years, to persuade Murray to star in a third. The money was good, the studio was behind it and his co-stars wanted in. In the end, Murray refused. He did agree to a cameo for this year’s reboot with Melissa McCarthy and Kristen Wiig.

Aykroyd brings up G.I. Gurdjieff as a way of explaining his friend. Murray admires the Russian mystic.

“Conflict in the Gurdjieffian philosophy can serve creativity,” Aykroyd says. “Billy believes you’ve got to stir things up. You don’t just put your marbles against the wall. You go in there and you either go through the wall or you knock a marble so it knocks another marble out. From friction comes heat and from heat comes creative power and a flame.”

Talking about his public improvisations two years ago, Murray seemed to reference Gurdjieff.

“My hope always,” Murray said in an interview scheduled to support “St. Vincent,” “is that it’s going to wake me up. And if I see someone that’s out cold on their feet, I go, okay, I’m going to try to wake that person up. It’s what I want someone to do for me: Wake me the hell up.”

Professionally, there have also been “wake-ups.” In 1984, he agreed to do “Ghostbusters” only if the studio paid for him to remake “The Razor’s Edge,” a drama set in World War I and based on W. Somerset Maugham’s book. Murray played World War I veteran Larry Darrell.

“Ghostbusters” came out in June, setting box-office records and bringing Murray praise for playing sweetly sarcastic Dr. Peter Venkman. “The Razor’s Edge” came out in October and bombed. Murray didn’t brush off the commercial failure and sign on for “Caddyshack II.” Instead, he moved to Paris. He read books. And he turned down lucrative movie roles. He would not return to star in a film for four years until 1988’s “Scrooged.”

Even if “The Razor’s Edge” failed to score at the box office, it did reach a teenager in suburban Texas.

Wes Anderson rode his bike to a local video store to rent the film on Betamax and watched it with his brothers in the family’s wood-paneled TV room. Larry Darrell stuck with him.

“He was sort of poetic and heroic and very sad,” Anderson writes in an email, “but I remember what we also thought: He’s still funny.”

Years later, Anderson would think of Darrell again when he was writing the role of boozy, broken businessman Herman Blume. Bill Murray agreed to be cast and Anderson made “Rushmore.”

‘I’ll try to kill this’

So why won’t Murray talk to me?

For weeks, I blamed Laraine Newman.

I had spoken to the actress and comedian, an original SNL cast member, on Aug. 22. It had not gone particularly well. Newman has had some bad experiences with the media. With me, she was uneasy with questions I thought were straightforward. For example, what did she think of Murray’s willingness to take a risk like “The Razor’s Edge”?

“One can never know what another person is thinking,” Newman said. “I don’t think he would like anybody describing what his thoughts and motives are. He of all people would detest that. It’s unfair. Nothing could be more alienating than being misrepresented. Even if it’s something good.”

We talked about their friendship over the years. About how once he stopped by her house with a bag of avocados. About how Newman, years ago, had gone through a difficult breakup, and Billy had come by, in a convertible, and they’d gone for a long ride that helped her feel better.

But what she didn’t tell me, until confirming weeks later in a follow-up call, was that she had been uneasy enough about our interview to send Murray a warning.

Newman pulled up the exchange and read part of it to me over the phone.

Murray was already “horrified,” though we couldn’t determine if that was embarrassment about being singled out for the Twain.

Then he responded to her concerns about me.

“I’ll try to kill this,” he wrote.

The interview? The story? My career?

I mulled this over for weeks, imagining Newman’s exchange was why I couldn’t get the courtesy of a return call from Murray’s attorney, David Nochimson.

Then I talked with Joel Murray. He’s the youngest of the nine Murray kids and also an actor. He heard me out and then told me to let it go. It wasn’t my fault. He suspected his older brother never planned to meet with me.

“You can’t beat yourself up,” said Joel Murray. “It’s like dealing with a terrorist. They don’t care if they die. He doesn’t care about publicity at all.”

Bill Murray visits the doctor

But maybe there’s still a way to end this on a high note. With another story.

This comes from Letterman.

Last spring, Murray wrote to tell Letterman he was in New York and would love to get together. Letterman looked at his schedule. It was tight. The only day he had at least partially open was a day when he would be getting immunization shots for a trip to India. He gave Murray the address.

“The following day, I’m in Dr. Hartman’s office and I’m in the examining room and I’m in my underpants,” Letterman says, “and there’s Dr. Hartman, a lovely fellow, and he’s got his lab coat on and he’s beginning to explain all of the different things he’s going to vaccinate me against. Suddenly, there’s a knock on the examining room door, and I think, ‘I bet this is an assistant or somebody wanting to take blood.’ ‘Hi, Bill,’ I say, in my underpants. And the doctor, of course, is stunned. Oh, Bill Murray. So Bill comes on in. We’re squeezed in there the three of us. He starts yakking to the doctor about this and what are you going to give him and that because Bill had been to India.”

Letterman offers one of his patented cackles and stops telling the story.

“It was so crazy I’m having trouble explaining it. I’m in my underpants. There’s Bill Murray, and I’m getting injected. That’s not right, is it? That’s a violation of the Hippocratic oath, isn’t it? So now he starts giving me all of the injections, so Bill looks at me in my underpants and says, ‘Have you been lifting?’ ”

I tried to reach Bill Murray for weeks. Here’s what happened when he finally called me back.

by Geoff Edgers

At 12:39 p.m., a couple hours after my giant story about Bill Murray not calling me is published, the phone rings.

It’s Bill Murray. He is in New York on the way to the airport.

“I’m sorry you’re not here in this taxi on the way to JFK,” he says. “I’ve got some Swiss chocolate.”

I tell him I’ve been trying to reach him for weeks. That I had given up. He tells me he had heard that but he didn’t know what to say. He finally dialed my cell after nudging from former “Saturday Night Live” writer Jim Downey, a close friend of his.

I mention that the story is actually done.

“I didn’t read the article,” he says. “I don’t even know where the article is or when it came out. I was calling you on the chance you hadn’t written it because they all said I would enjoy the experience of speaking with you.”

So we talk. We talk about the Chicago Cubs, who he believes are going to turn it around, and musician John Prine, who I mention first, for no particular reason other than that I’ve been listening to him recently, and Murray, as luck would have it, perks up. He tried to actually get the Kennedy Center to bring in Prine for Sunday’s Mark Twain Prize for American Humor ceremony. It didn’t work out.

“I thought it would have been a nice deal because John Prine can make you laugh like no else can make you laugh,” he says.

It is clear that Murray, as I’ve heard from some of his friends, is truly conflicted about receiving this honor. But he’s going through with it. Letterman, Ivan Reitman, Jane Curtin, Emma Stone — they’ll all be there to fête him.

“I really thought if I don’t answer the phone for awhile, maybe they’ll just move on to someone else,” says Murray. “But all these people called from everywhere. This is so great. Ugh. If this [NLCS] goes to a Game 6 or 7, which it is going to, I’m not going to be there. I’m going to be there [at the Kennedy Center] having people say, ‘Oh, he’s a funny, funny man.’ I’d much rather be sitting there in a good box seat at Wrigley Field. The game the other night was so much fun. It was delirium. And I was looking forward to more of that. I just have to have faith that they have a TV backstage. It’s very hard to find a transistor radio anymore.”

We talk about the timing of his call. My story – which I worked on for months, and included more than a dozen attempts to interview him – was published a few hours earlier. I tell him that it was a struggle to profile somebody without talking to him, but that, in the end, I felt as if the piece worked. I get a hint of what it might be like to pick the brain of a creative master, the man who has never been satisfied with just doing things the way they’ve always been done.

“I find that if you’re put in a box, you have to find something that you never would have found,” Murray says. “I find that to be almost always the case. Actually, always the case. I will figure out how to do that.”

I tell him I appreciated the kind words from Downey and Norm Macdonald, who Murray says both spoke highly of me. But that at a certain point, I was almost glad he didn’t call.

“I did fear you would call at the last minute and then I’d have to rewrite the whole damn thing,” I say.

“And then I did,” says Murray. “Sorry.”

“No,” I tell him. “It’s published. I can’t go back on it.”

“Then you can relax and enjoy the weekend,” he says.

If only. We talk more about the Cubs, but I already know that he has gummed up the works a bit, but in a good way: I now have to figure a way out of the box, how to tell the story of a subject who won’t talk for his own story until he will, and how he does it when you’re least expecting it.

“It’ll be all right,” he says, really talking about the Twain ceremony this weekend. “We’ll get through this. I’ve got to go now. We’ve made it to the airport and I owe this driver another piece of chocolate.”

And then, for reasons unclear, I mention that if he’s ever in Concord, Mass., where I live, he shouldn’t hesitate to stop by. Maybe we could go to Walden Pond or visit Emerson’s grave.

“I would love to do that,” Murray says, sounding sincere. “I would really love to do that. I’ll take you up on that.”

5 Behind The Scenes Scoops from John Hughes Movies

Caption:  Director John Hughes on 11/28/90 in Chicago, Il.   Headline:  Paul Natkin Archive   Venue:    Location:  Various Locations, United States   Date:  Circa 20th century   Credit:  Paul Natkin/WireImage.com
 Director John Hughes on 11/28/90 in Chicago, Il. Photo Credit: Paul Natkin/WireImage.com

The Telegraph has a wonderful essay titled WILL THERE EVER BE ANOTHER JOHN HUGHES? by Robbie Collin, prompted by the recent publication of a new book by Kirk Honeycutt, JOHN HUGHES: A LIFE IN FILM. Collin’s essay is excerpted below:

Between 1984 and 1987, Hughes wrote six teen movies: SIXTEEN CANDLES, THE BREAKFAST CLUB, WEIRD SCIENCE, FERRIS BUELLER’S DAY OFF, PRETTY IN PINK and SOME KIND OF WONDERFUL. The first four of those he also directed; the other two were by Howard Deutch, although behind-the-scenes tales from PRETTY IN PINK suggest Hughes was still the primary guiding influence on set.

Together, these six films make up just a fraction of his life’s work. Between his first screenplay, for 1982’s NATIONAL LAMPOON’S CLASS REUNION, and his death in 2009, Hughes directed eight features and had writing credits on 25 more, plus a handful of other projects that went direct to video or were made for television, and countless more that were left unmade. But those half-dozen high-school films are his legacy.

“You see us as you want to see us,” runs the opening monologue [of THE BREAKFAST CLUB] – which we later discover is part of the essay written by the five students from different backgrounds, played by Molly Ringwald, Emilio Estevez, Ally Sheedy, Judd Nelson and Anthony Michael Hall, who learn that they have more in common than they first thought. “In the simplest terms and the most convenient definitions. You see us as a brain, an athlete, a basket case, a princess and a criminal.”

Before Hughes, teen movies had almost exclusively trafficked in stereotypes – the jock, the geek, the virgin, the stoner, the slut and so on – and THE BREAKFAST CLUB was his wholesale rejection of those worn-out tropes. Hughes establishes the differences between these five characters so nimbly you barely notice it happening: in their clothes; their parents’ parting words to them at the school gates; the different cars in which four of the five arrive; even where in the library they choose to sit.

THE BREAKFAST CLUB, Judd Nelson, Emilio Estevez, Ally Sheedy, Molly Ringwald, Anthony Michael Hall, 1985. ©Universal Pictures/Courtesy Everett Collection
THE BREAKFAST CLUB, Judd Nelson, Emilio Estevez, Ally Sheedy, Molly Ringwald, Anthony Michael Hall, 1985. ©Universal Pictures/Courtesy Everett Collection

But as the detention runs its course, our easy assumptions about them are turned on their head. None of them fits the role into which they’ve been forced by high-school life. “What we’ve found out is that each one of us is a brain, and an athlete, and a basket case, a princess and a criminal,” runs the film’s closing monologue, which is shared by all five of the leads. This realisation is treated, rightly, as life-changing. Hughes never patronised his characters, and treated teenage traumas with far more gravity than those his adult characters suffered through.

Even today, that feels revolutionary – and shows Hughes’s commitment to treating his young audience with the utmost respect, however outlandish the on-screen action got.

So perhaps to find today’s John Hughes we need to look elsewhere…If Hughes were around today, would we find him on YouTube, laughing and joking with the young cinemagoers who’d found encouragement and hope in his work? Or would this self-styled outsider remain off the grid with his wife and two sons in a quiet Chicagoan suburb? There’s no way to know – and, of course, no need to either. His films speak for him, articulately and at length, whenever your inner teenager might want to hear a friendly voice.

Read Collin’s full piece at The Telegraph.

The book’s author, longtime Hollywood Reporter journalist and critic Kirk Honeycutt, spoke about Hughes with Fast Company: “He wrote about teens as if they were adults. He connected to them in a way no one has before or since. Their problems, he treated with seriousness. Their angst, he treated with seriousness. He didn’t write down to them. He wrote to their level. He was someone in his thirties who still remembered what it was like to be 17. He remembered how parents and teachers feel like creatures from another land. He understood that who you go to the prom with was crucially important for a couple months in your life. He created an adult world in which the kids were the adults. I think that will play forever.”

Honeycutt, who interviewed Hughes through the years, shares anecdotes behind five of the writer-director’s most popular movies in an interview with the NY Post:

“Sixteen Candles,” 1984

SIXTEEN CANDLES, Gedde Watanabe, Deborah Pollack, 1984. (c)Universal Pictures/ Courtesy: Everett Collection.
SIXTEEN CANDLES, Gedde Watanabe, Deborah Pollack, 1984. (c)Universal Pictures/ Courtesy: Everett Collection.

“Gedde Watanabe [above, with Deborah Pollack] played Long Duk Dong, a clichéd Asian character. But they actually spent the better part of two days filming a big musical number with him at the prom — he did a big dance number and rapped about how much he loved America. It would have been interesting to see how people reacted to the character if that scene remained. I think it would have made him less controversial.”

“Pretty in Pink,” 1986

PRETTY IN PINK, Jon Cryer, Andrew McCarthy, Molly Ringwald, 1986
PRETTY IN PINK, Jon Cryer, Andrew McCarthy, Molly Ringwald, 1986

“They had to reshoot the ending, because the original one where Andie [Molly Ringwald] and Duckie [Jon Cryer] ended up at the prom dancing — with implications they’ll get together — was disliked by test audiences, especially young girls who felt Molly needed to end up with the cute guy [Andrew McCarthy]. They had McCarthy back six months later to shoot a new ending. He was doing a play, for which he had shaved his head. It’s a bad wig he’s wearing [in the final scene, above]. John said to me, ‘I wasn’t happy about the reshoot but when I saw that wig, I started laughing and didn’t mind so much.’ ”

“The Breakfast Club,” 1985

“This movie was supposed to have a nude scene. During the day of detention, the [students] would have sneaked out of the library and found a peephole in the women’s locker room. There they spy the synchronized-swimming coach topless. Someone was even cast for the part: Karen Leigh Hopkins. But there was a rebellion by the actresses [Molly Ringwald and Ally Sheedy] and the female producer [Michelle Manning] against the scene. ‘This is really sexist and misogynistic,’ they hammered at [Hughes]. He thought about it and cut it out of the movie.”

“Ferris Bueller’s Day Off,” 1986

FERRIS BUELLER'S DAY OFF, Matthew Broderick, Mia Sara, Alan Ruck, 1986  FILM STILL
FERRIS BUELLER’S DAY OFF, Matthew Broderick, Mia Sara, Alan Ruck, 1986
FILM STILL

“For the scene where Ferris sings on the float during the parade, they had to shoot the real Von Steuben Day parade in Chicago over one weekend. Then the next weekend, they had to have a fake parade to get more shots. They had to get people willing to show up for free. They went to radio stations and put ads in the paper. In the end, 10,000 people showed up for the fake parade, which was more than for the real parade. Matthew Broderick and choreographer Kenny Ortega had worked out a dance sequence for the actor atop the float. Broderick had dislocated his knee a few weeks earlier filming the scene at the end of the movie where he’s running through yards on his way home, so the choreography had to be scrapped.”

“Planes, Trains and Automobiles,” 1987

PLANES, TRAINS AND AUTOMOBILES, Steve Martin, John Candy, 1987, © Paramount/courtesy Everett Collection
PLANES, TRAINS AND AUTOMOBILES, Steve Martin, John Candy, 1987, © Paramount/courtesy Everett Collection

“Steve Martin told me [Hughes] encouraged ad-libbing. So he and John Candy are shooting this scene in this broken-down car with no roof, and it’s minus-10 degrees outside [in Buffalo, NY]. Every time they ad-libbed, you have to cover it [reshoot the scene from a different camera angle] 50 times. It was getting ridiculous, the multiple coverage they needed for every line. Martin and Candy agreed not to ad-lib anymore because they were freezing to death. They loved ad-libbing, and unfortunately were doing too good a job of it and increasing their chances of getting frostbite.”