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Oswalt Patton - Silver screen fiend: learning about life from an addiction to film

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Movie freaks and sprocket fiends : the New Beverly Cinema, May 20, 1995 -- My first four Night Cafs : Arles, France, September 1888 -- The Largo : Los Angeles, 1996 -- No small actors : Down periscope, 1995 -- Meat and potatoes : Los Angeles, August 1995 -- Overdosing : Los Angeles, October 21-22, 1995 -- You can, unfortunately, go home again : Sterling, Virginia, Thanksgiving 1996 -- The day the clown didnt cry : the Powerhouse Theatre, January 27, 1997 -- Amsterdam : January 7-13, 1998 -- The knave of Queens : March 26-27, 1998 -- Killer Burger and the myth of the Largo : March 4-20, 1999 -- The end of the addiction : Thursday, May 20, 1999, the Vista Theatre -- Whistling in the dark -- The second-to-last Night Caf : April 15, 2009.;Between 1995 and 1999, Patton Oswalt lived with an unshakable addiction. It wasnt drugs, alcohol or sex: it was film. After moving to L.A., Oswalt became a huge film buff (or as he calls it, a sprocket fiend), absorbing classics, cult hits, and new releases at the New Beverly Cinema. Silver screen celluloid became Pattons life schoolbook, informing his notion of acting, writing, comedy, and relationships. Set in the nascent days of L.A.s alternative comedy scene, Oswalts memoir chronicles his journey from fledgling stand-up comedian to self-assured sitcom actor, with the colorful New Beverly collective and a cast of now-notable young comedians supporting him all along the way--;New York Times bestselling author, comedian, and actor Patton Oswalt shares his entertaining memoir about coming of age as a performer and writer in the late 90s while obsessively watching classic films at the legendary New Beverly Cinema in Los Angeles.

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Also by Patton Oswalt

Zombie Spaceship Wasteland

SCRIBNER A Division of Simon Schuster Inc 1230 Avenue of the Americas New - photo 1

Picture 2

SCRIBNER

A Division of Simon & Schuster, Inc.

1230 Avenue of the Americas

New York, NY 10020

Copyright 2015 by Dagonet, Inc.

All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. For information address Scribner Subsidiary Rights Department, 1230 Avenue of the Americas, New York, NY 10020.

First Scribner hardcover edition January 2015

SCRIBNER and design are registered trademarks of The Gale Group, Inc., used under license by Simon & Schuster, Inc., the publisher of this work.

For information about special discounts for bulk purchases,
please contact Simon & Schuster Special Sales at 1-866-506-1949
or business@simonandschuster.com.

The Simon & Schuster Speakers Bureau can bring authors to your live event. For more information or to book an event contact the Simon & Schuster Speakers Bureau at 1-866-248-3049 or visit our website at
www.simonspeakers.com.

Interior design by Erich Hobbing

Jacket design by Office of Paul Sahre

Jacket photograph: The Colossus of New York Paramount Pictures Corp. All rights reserved.

Manufactured in the United States of America

1 3 5 7 9 10 8 6 4 2

Library of Congress Control Number: 2014017626

ISBN 978-1-4516-7321-0

ISBN 978-1-4516-7323-4 (ebook)

For Sherman Torgan,
all twenty-four frames of this
are yours

Film is a disease, when it infects your bloodstream, it takes over as the number one hormone... it plays Iago to your psyche. As with heroin, the antidote to film is more film.

Frank Capra

Oh Bert, do stop this worrying. You must have heard surely of movie magic. You should be a stunt man, who is an actor, who is a character in a movie, who is an enemy soldier. Wholl look for you amongst all those? People like to believe in things, and policemen are just people. Or so Im told. Frankly, our problem is so simple its almost beneath us. Now listen to me: That door is the looking glass, and inside it is Wonderland. Have faith Alice! Close your eyes and enjoy.

Peter OToole, in Richard Rushs The Stunt Man

Already the present starts plotting its recurrence

somewhere in the future, weaving what happens

in among our fabrics, launching its aroma, its music

imbuing itself into floorboards, plaster, nothing can

stop it, it cant stop itself. You will never have access

to its entirety, and you have asked how to calculate

what resists calculation...

Timothy Donnelly, Dream of the Overlook

This WAS our dream, surrounding us. The fucking studios! Peoples dreams were their business, and they knew their business. They had us by the heart, and we just walked, and looked around, and longed, all the way to the cattle chutes.

Michael Shea, The Extra

No good movie is too long and no bad movie is short enough.

Roger Ebert

I like to drink.
At my drunkest the worst I do is rewatch
Murder on the Orient Express or fall asleep.
I used to smoke a lot of pot. All it made me do
was go on long walks by myself and laugh at things.
Ive enjoyed my share of LSD and mushrooms.
They exploded my being from the inside out
while I sat and listened to music.

Ive done my due diligence as far as vices,
but Im an unbearable slouch when it comes
to interesting stories connected to them.

This will be either the most interesting or
the most boring addiction memoir youve ever read.
I cant promise it ever gets harrowing,
but I can promise that I triedI really tried
to make it funny.

Here we go.

CHAPTER ONE

Movie Freaks and Sprocket Fiends

The New Beverly Cinema,

May 20, 1995

Listenyou dont have to follow me into the darkness here Its sunny out Its a - photo 3

Listenyou dont have to follow me into the darkness here. Its sunny out. Its a syrupy Los Angeles Saturday afternoon in May of 1995. Were standing on Beverly Boulevard, just west of La Brea. Wide, pleasant street. A few blocks walk from restaurants, some vintage furniture stores, coffee. Midnineties hipsters are wearing what they think is cool that week. Orthodox Jews committed to their wardrobe thousands of years ago and are walking it like they talk it. Lifes going on.

Were about to enter the New Beverly Cinema for a double feature of Billy Wilders 1950 smash-hit, critically acclaimed Sunset Boulevard. Wilder cowrote and directed Sunset Boulevard in 1950, took home an Oscar for alchemizing its brilliance at the typewriter, and saw it nominated for ten more Oscars. Wilder etched his name onto the first year of a new decade with a knife made of ink and celluloid.

I can see you want to say something here but now the Fact Fever is on me, and I bulldoze right over you and keep gabbing.

The second feature on the double bill is Ace in the Hole , Wilders follow-up. Cowritten and directed, again, by Wilder. A man who had not only Sunset Boulevard behind him but also Double Indemnity and The Lost Weekend. He wasnt simply riding a wave of success when he started Ace in the Hole. He was on a three-engine speedboat of triumph and he punched through the waves like a shark gone blood simple on surfer guts. He pushed his winnings back onto a single square at the roulette wheel of cinema and gave it a confident spin.

Wait, let me finish. I know, hang on...

Where was I? Oh yeah Ace in the Hole. That one. The opposite of Sunset Boulevard , success-wise. Double zeroes. House wins. Box office bomb, critical revulsion. Some cynical industry types nicknamed the movie Ass in the Wringer. Poor Wilder got one Oscar nomination for Best Screenplay (back when the writing category for Oscars was divided up between Motion Picture Story and Screenplay) and saw Jan Sterling, the lead actress, grab a much-deserved National Board of Review for her sly, reptilian tour de force. The Venice Film Festival tossed an International Award into his bruised, bloodied lap, as well as nominating him for a Golden Lion (which he lost).

Not that the awards stopped there. In 2007 fifty-six years laterAce in the Hole was nominated for a Satellite Award for Best Classic DVD. Which it lost to the fortieth-anniversary edition of The Graduate.

Hang. On. In a minute. Sheesh.

Billy Wilder still had Stalag 17 , Sabrina , The Seven Year Itch , Some Like It Hot and The Apartment ahead of him. At the bottom of this particular valley in his career was a trampoline, apparently.

I could go on, and I do. This is where you start to pull away. Where you should start to pull away. Even though youre talking to a relatively fresh-faced twenty-six-year-old on a sunny sidewalk, you can tell somethings wrong, cant you? The way I talk in unwieldy chunks of paragraphs, rather than inquisitive sentences. Im a boxing glove with a horseshoe inside of it, conversationally. I speak at you. I speak through you. Youve got the queasy feeling you might not even need to be here right now, and Id still spit Facts About Billy Wilder into the afternoon air.

Youre not up for two movies? Hmmm. Wanna just see the one? I mean, youve gotta see Sunset Boulevard. Gotta. Youve never seen it? How can you be alive and I mean, Im definitely seeing both of these, but if you only want to catch Sunset Boulevard and then split, fine with me. There are cameos by Erich von Stroheim and Buster Keaton, and did you know that Jack Webb is... ?

... Really? Youre gonna bail?

Thats cool. Maybe Ill call you later.

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