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The thrill I got discovering Buster Keaton when I was growing up was so exciting. He was one of the greats.
I grew up watching Charlie Chaplin and Buster Keaton.
I love Buster Keaton. I was a big fan of the stunt shows at Universal Studios. I'm a huge Cirque du Soleil nut.
Sydney in the 1960s wasn't the exuberant multicultural metropolis it is today. Out in the city's western reaches, days passed in a sun-struck stupor. In the evenings, families gathered on their verandas waiting for the 'southerly buster' - the thunderstorm that would break the heat and leave the air cool enough to allow sleep.
I want to let my friend Buster know that I would like to have dinner with him tonight. Does Buster work at home? Then how likely is he to have his cell phone on? Is he one of those people who only turns on his cell when he's in his car? I hate that.
I read every book about Buster Keaton and Chaplin to see how they worked - it's all about dedication, tunnel vision, pursuit of perfection, getting the gag right.
I just want people to remember me like I remember Buster Keaton. When they talk about Buster Keaton or Gene Kelly, people say, 'Ah yes, they good.' Maybe one day, they remember Jackie Chan that way.
Comedy isn't necessarily all dialogue. Think of Buster Keaton: the poker face and all this chaos going on all around him. Sometimes it's a question of timing, of the proper rhythm.
I feel like, in a lot of shows where the woman is in charge, the woman is this ball buster and the guy is sort of weak and spineless. And that's never been my experience in a relationship. I think it's much more interesting that the guy is the boss. And there are stakes.
Historically, Hollywood comedy has arrived in skinny envelopes. From fence post Buster Keaton to herky-jerky Jerry Lewis to wiry nerve-bundle Woody Allen to hung-loose Richard Pryor to whippy contortionist Jim Carrey, its comics and clowns have tended to be sliced thin and bendable.