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How the 'Pickwick' patter performance was a pleasing payoff for Pasek and Paul

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How the 'Pickwick' patter performance was a pleasing payoff for Pasek and Paul

Steve Martin had just one edit. He was completely game to sing this absurd, tongue-twisting, joke-packed patter song about three infants who are all suspects in the murder of their mother — but he hesitated on the line: “Should a baby get fried for matricide?”

“Guys,” he said from the recording booth, “I don’t know that we should be talking about sending babies to the electric chair. Maybe we could just do ‘Should a baby get tried for matricide?’”

The “guys” were the award-winning Benj Pasek and Justin Paul, who co-wrote the song “Which of the Pickwick Triplets Did It?” for the third season of “Only Murders in the Building.”

“We were like, ‘Wait, not only did you solve something with an exact perfect rhyme, but it means we don’t have to electrocute babies and we can make it into a murder trial?’” Pasek says. “‘This is why you’re Steve Martin.’”

Pasek and Paul didn’t know it, but among his many other talents — comedian, actor, banjo player — it turns out that Martin is a huge fan of “The Music Man.” At one of Martin Short’s legendary Hollywood Christmas parties some years ago, Martin did that show’s rapid-fire patter song “(Ya Got) Trouble” and did it “word perfect,” says Marc Shaiman, the multi-Oscar- and Emmy-nominated composer, who was there. “So we kind of knew: Oh yeah, he’s gonna nail this.”

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The latest season of the murder mystery comedy series gave Short’s character, Oliver Putnam, a chance to turn his murder mystery stage play into an outrageous Broadway musical called “Death Rattle Dazzle!” Martin’s character, veteran TV actor Charles-Haden Savage, plays a constable investigating the murder of the triplets’ mother — and one story thread in the season is whether he can get through the intricate song without going into a wild fugue state onstage.

“And the harder that it was to actually perform,” says Paul, “and the more alliterative or the more plosives that there were, the more twists and turns or the pace of the song, the more of a payoff for you as an audience. You’re wondering: ‘Can he actually do it?’”

Charles (Steve Martin) and Loretta (Meryl Streep) perform in the outrageous Broadway musical called “Death Rattle Dazzle!” in the Season 3 finale of “Only Murders in the Building.”

(Patrick Harbron / Hulu)

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Showrunner John Hoffman brought Pasek and Paul, the songwriting team behind “Dear Evan Hansen” and “La La Land,” into the “Only Murders” writers’ room to create this faux musical. They wrote a lullaby for Meryl Streep’s character and several other theatrical numbers, working with handpicked collaborators including Sara Bareilles and Michael R. Jackson.

For the “Pickwick” patter song, they reached out to Shaiman and Scott Wittman, the theater veterans who musicalized “Hairspray” and “Charlie and the Chocolate Factory” — and who actually gave Pasek and Paul their big break on Season 2 of TV series “Smash” in 2013. This was their first time all working together, and it was like having “second-time-around marriages with younger people,” says Shaiman, 64. “They’re really like…”

“…trophy wives,” Wittman jumps in.

The two duos instantly hit it off and gathered in a room with laptops to play in the sandbox of a shared Google doc.

“Who would have ever known that four people writing lyrics could even work?” Shaiman says. “But it flows.”

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“It was like we were playing a board game,” says Wittman, the goal being “how fast you could type to make the other person laugh.”

Benj Pasek looks to the side as Justin Paul faces the camera for a portrait.

“The harder that it was to actually perform,” says Justin Paul, at right, … the more of a payoff for you as an audience.”

(Annie Noelker / For The Times)

It became a comedy writers’ room for songwriters, and they were all on the lookout for the best rhymes that matched words about babies with words about murder.

“Somebody would come up with ‘cradle / fatal,’” Paul says, “and then Scott would jump in and shout, ‘NEONATAL!’”

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“And we would all just howl,” Pasek says.

When Charles first attempts the manic word salad, it sends him into the “white room” — a panicked void where stage performers go when they forget their lines. He discovers that making omelets, his soothing practice, helps him get through the song — but it’s an untenable crutch. Oliver brings in Matthew Broderick, playing himself with exaggerated smarm, who effortlessly breezes through the patter song.

“What can I say?” Broderick says. “I’m a vessel.”

Finally, during the sitzprobe (orchestra rehearsal) for the musical, Charles has to perform the entire song for an extra reason — to create a distraction and help his sleuthing partners, Oliver and Mabel (Selena Gomez), in their investigation into the murder of Paul Rudd’s character. So it’s a true nail-biter to see if he can get through this incredibly dense and complex tightrope that has been tripping him up all season long.

It was like that on set too.

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“Everyone had wrapped, and everyone stayed,” says Wittman, who was in the Washington Heights theater where the scene was being shot. “The day had gotten away from them and they only had two hours to film the actual number.

“But Steve — not one bead of sweat. He nailed it every time. It was sort of thrilling.”

Movie Reviews

Michael Jackson documentary set to release after massive re-write

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Michael Jackson documentary set to release after massive re-write
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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

The DC universe is going full on body horror.

DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.

Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.

The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.

According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”

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“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.

Who is Clayface?

Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”

Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.

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Other versions of Clayface have been introduced in various media since.

Who is in ‘Clayface’?

The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

Who are the ‘Clayface’ filmmakers?

Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).

The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.

As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.

During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.

Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.

“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.

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“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”

As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.

Shigeru Miyamoto says he was surprised by Mario Galaxy Movie reviews.

While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.

The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.

Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.

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“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.

“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.

“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”