Word: martinisms
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...When it was very new, it was very exciting," Martin says. "When you're first starting out, you're amazed that something gets a laugh. When you're a success, you know something's gonna get a laugh, it's just how big. You become like a conductor." But soon the audience seized the baton. Fans who knew his routines from the LPs would call out punch lines. He felt as if he were doing his greatest hits. So he retired to movies: more comfortable, less daunting...
Unlike Woody Allen, Martin has written only about a quarter of the films he's been in, and directed none. His movies are popular, but he's now a paternal presence, not the white-hot, wild-and-crazy guy. And that's fine. "Time has helped me achieve peace with celebrity," he writes. "At first I was not famous enough, then I was too famous and now I am famous just right...
...recalling the '60s and '70s, Martin writes revealingly of his sex life (busy) and his drug life (not so much). But the most poignant passages touch on his estrangement from his father and their reconciliation at the elder man's deathbed. "When I published that part in the New Yorker," Martin says, "I got a great letter from a woman. She said, 'I read your article about your father, and I gave it to my husband, and he read it and didn't say anything. And then he said to me, What's our son's phone number...
...should Grassley play the role of Martin Luther? Some see Grassley's acts as a religious vendetta, launched by a white-bread Evangelical who doesn't get the group's view of rich pastors as a sign of divine grace. Grassley has hinted that his purpose may be to revamp tax laws to keep up with rapacious preachers. Remarks Charles Haynes, senior scholar with the First Amendment Center: "I'm worried that [the six] might be used to push for stringent transparency regulations that would affect all religious groups. They are extreme, and extreme cases can lead...
...piece, each adapted for the theater and modified to include an original score. Despite the Beckett estate’s reputation for opposing all changes to the playwright’s works, Scanlan obtained unique permission to “jump genres” as well as to engage Martin Pearlman, locally renowned music director of Boston Baroque, as a composer. “They trust Bob, as they have worked so much with him,” Pearlman says. Though the two radio plays already featured music, Scanlan always thought it didn’t quite...