At some point over the past three years or so I've actually come to like James Lipton, the hyper-prepared, creepy, leprechaunish host of Inside The Actor's Studio. I enjoyed Will Ferrell's take on the man on Saturday Night Live years ago, and Bob Odenkirk's somewhat repulsive take on Mr. Show, but that was parody, somewhat mocking without any real sense of affection for the man and what he does. But, if you sit down and watch an episode of the show with Lipton interviewing someone whom you're actually interested in, it's evident the man (and his writing staff) have done their research and are absolutely fearless about asking any question. Much of the time I have to question "what business is it of yours" but if it invariably comes back to, "and how do you use that in your acting/directing/writing etc." there is actually some merit.
I think my initial beef with Lipton was his show's misnomer of a title, since he so often has people who are not actors on his stage. I also was genuinely annoyed by the B-level, C-level (and below) talent that he frequently has on the show, wondering exactly what perspective these TV movie actors really have to give, as well as the young stars who only have a few pictures under their belt. But as a whole there's an interesting examination of the form from all different angles to what he does, with the thoughts from the people in front of the camera, to the observations of the people behind it, to the people that watch it all from the outside as interviewers (Barbara Walters was on the last episode I saw).
I think I started cutting him some slack after Lipton's brilliant turn on Arrested Development as the New Warden, who kept trying to promote his screenplay, aptly titled "New Warden". It was a very self-aware performance, not to dissimilar from Liza Minelli's Lucille 2 on the show or Bill Shatner's ham-fistedness in every venture he's undertake in the past decade. There's something very enjoyable about an actor or personality who's so very aware of their presence and how an audience perceives them, and then know how to use all that to their advantage in performing. Lipton's certainly embracing his unique place in pop culture, and quite frankly, I quite like him for it. And this, well, this kills me:
Best use of "Booya" this decade.
more Hellboy shilling after the cut:
I think my initial beef with Lipton was his show's misnomer of a title, since he so often has people who are not actors on his stage. I also was genuinely annoyed by the B-level, C-level (and below) talent that he frequently has on the show, wondering exactly what perspective these TV movie actors really have to give, as well as the young stars who only have a few pictures under their belt. But as a whole there's an interesting examination of the form from all different angles to what he does, with the thoughts from the people in front of the camera, to the observations of the people behind it, to the people that watch it all from the outside as interviewers (Barbara Walters was on the last episode I saw).
I think I started cutting him some slack after Lipton's brilliant turn on Arrested Development as the New Warden, who kept trying to promote his screenplay, aptly titled "New Warden". It was a very self-aware performance, not to dissimilar from Liza Minelli's Lucille 2 on the show or Bill Shatner's ham-fistedness in every venture he's undertake in the past decade. There's something very enjoyable about an actor or personality who's so very aware of their presence and how an audience perceives them, and then know how to use all that to their advantage in performing. Lipton's certainly embracing his unique place in pop culture, and quite frankly, I quite like him for it. And this, well, this kills me:
Best use of "Booya" this decade.
more Hellboy shilling after the cut:
For Jacqui: