Curb Your Enthusiasm by Stan The Caddy

We gotta get some with the wings on them. Go to Ethan Allen. Come on, sit down, Larry. Everybody, just dig right in. There's no reason to wait or anything. I'm feeling weird about something that happened last night. I wanna talk to you about it. I'll be in my office, say, around 12:30. You got my number. Maggie and I are gonna go there, but we're not gonna barge in and invade your privacy. Jeff's new "toy", a vintage '57 Chevy convertible, Larry mistakes the horn in an Aamco radio spot for that of an actual car idling behind him at a red light -- and ends up getting the car rammed. Jeff's car. But Larry's good fortune is short-lived as he ends up alienating Mike by refusing to invite him to his house on Martha's Vineyard.I've already asked this question, not only here but on other sites as well. I have yet to get any explanation. However, when they are all walking out of the bowling alley, she is wearing white sneakers. I would love to see an interview with Larry or Robert to find out if this was some kind of intentional thing or what. The brownies and the bowling shoes seem like easy mistakes, but this chicken L'orange is too blatant. The images should not contain any sexually explicit content, race hatred material or other offensive symbols or images. He called Lewis to go in for him but it was closed for lunch and when they tried to go back, a blind man asked for their help moving furniture which took so long they closed for the night. She thought hamsters were boring, so Larry pointed out that you can torture them. She refused to give up the dog until she accidentally drank Larry's wine and got drunk. Scorsese about the number of takes he does, claiming that they never did more than two takes on Seinfeld. I can't imagine this is the case on Curb. You go into great detail elsewhere about the process of filming improvised scenes based on a short outline. I guess is the highest compliment of all. I think they wonder how the story can follow such a specific through-line if it's all made up on the spot. What those people probably don't understand is that the storyline is worked out in great detail in advance. We go in with an outline that runs about seven pages. (An average half-hour sitcom is 40 pages.) All the story points are worked out, we know basically what's going to happen in each scene, but there's no written dialogue. I'll plant it in the actor's ear. But the key is just to shoot the scene enough times, in enough different ways, that we can make sense out of it in the editing room. On average, I may shoot each scene about eight times. Plus there are usually pickups (or partial scenes) that have to be covered.I guess the only thing that's changed or "evolved" since Season One is that we kind of have our act together a bit more as we've been at it for four years now, if you count the special. He couldn't have been more cooperative and playful and willing to take direction. The choice to go with licensed music is part budgetary and part time constraints. Rasch, who is one of our two editors (the other is John Corn), is also our music supervisor. He finds library music to slug into the show at appropriate places, and Larry and I will either approve it or ask for options.A lot of people ask about the opening theme, which has become very popular. We almost opted for it on the special, but ultimately couldn't find a place for it. When we started the series, we thought it would make a great opening theme, and it sort of set the tone for the other incidental music. It's somewhat Fellini-esque, or more accurately Nino Rota-esque. It's appropriate because Larry's on-camera life resembles a Fellini film at times. But Chris came in and cracked us up. In fact he came into the room in character. He fooled us. He's actually a very sweet-natured, unassuming guy. When he left the room, we were told his name was Chris Williams and that he was Vanessa Williams' brother. This knocked me out because Vanessa and I were pals years ago but we lost touch after she moved back to New York. After working with Chris, I got to reunite with Vanessa when we went to New York for the Scorsese shoot. Stop and count all the little white lies that he tells throughout the season to avoid any sort of confrontation, for instance, and then watch his reaction when he gets one regardless. It takes the wacky misunderstanding to new heights, as Larry is seemingly incapable of parking his car in a lot without incurring the wrath of 7 different people. And much like George, he brings it all on himself and could avoid the whole mess by stopping to think about someone else for 5 seconds. They just throw the shit out there and say “If you want to laugh, laugh, and if you don’t, f*ck you” and I love that attitude. If you can deal with it and can laugh at anything without getting offended, you will love this show. All others, caveat emptor.

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