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By David Poland poland@moviecitynews.com

Best SNL Sketch This Week

11 Responses to “Best SNL Sketch This Week”

  1. Joe Leydon says:

    Pretty damn funny, I must admit.

  2. Geoff says:

    Funnier than Djesus Uncrossed? Even though I’ll admit that one could have been more clever….

  3. Matthew says:

    Hah, she has a funny voice and apparently foreign people are backwards! This is comedy that is both innovative and unique.

  4. christian says:

    Djesus Uncrossed= Bill Hicks rip=off

  5. David Poland says:

    That was such a “Richard Pryor curses to much” response, Matthew.

  6. Matthew says:

    Well, arguing about humor is always a lose/lose situation; I would venture that it’s one of the most personal tastes when it comes to entertainment.

    I will say that whoever this actress is has a career ahead of her in voice acting should she want one – those trills aren’t easy to pull off so rapidly.

  7. Krillian says:

    I liked that one. Djesus Uncrossed and What Have You Become? were pretty good too.

  8. Water bucket says:

    This was my favorite sketch too! I think it was her energy that really made the whole thing funny. Like Will Ferrell used to elevate bad materials by just being so darn committed to the sketches.

  9. Lex says:

    women r not funny ever

    no straight man likes funny women.

  10. Joe Leydon says:

    Lex: Well, in the immortal words of Cary Grant in Bringing Up Baby, I guess I just went gay all of a sudden.

  11. cadavra says:

    C’mon, Joe. Lex has no idea who Cary Grant was or what BRINGING UP BABY is.

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The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.

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DENNIS COOPER

Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
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