10 Celebrities grabadas in fraganti (parte II)
27 de Abril del 2012 | etiquetas: Hollywood, Humor, Polémica, Celebrities
En la primera parte de este recorrido por la polémica que desencadenan las estrellas de la gran pantalla, el objetivo eran famosos del Holywood actual; pero parece ser que las discusiones a voces y los grandes espectáculos son algo atemporal. El grandísimo Orson Welles o Sir Elton John entre otros completan el elenco de celebrities puestas en evidencia en el ranking de What Culture.
6. Casey Kasem vs. sus productores
El caso: El doblador original de Shaggy en “Scooby-Doo” tenía que dirigir la audiencia de una canción alegre a la historia de un perro muerto. Parece bastante simple, ¿no? Pues parece ser que Kasem no estaba del todo de acuerdo, y no tarda nada en desatar su opinión entre todos los responsables.
Transcripción: (gracias a freakipedia.net)
*Aviso para navegantes: Hemos decidido no traducir los textos y dejarlos en su inglés original debido a la gran cantidad de inproperios que incluyen.
“See, when you come out of those up-tempo goddamn numbers, man, it’s impossible to make those transitions, and then you gotta go into somebody dying. You know, they do this to me all the time. I don’t know what the hell they do it for, but God damn it if we can’t come out of a slow record. I don’t understand it. Is Don on the phone? Okay. I want a goddamn concerted effort to come out of a record that isn’t a fucking up-tempo record every time I do a goddamn death dedication! Now make it—and I also wanna know what happened to the pictures I was supposed to see this week! This is the god—last goddamn time. I want somebody to use his fucking brain to not come out of a goddamn record that is—that’s up-tempo and I gotta talk about a fucking dog dying!”
7.Orson Welles vs. un productor de publicidad
El caso: Cercano al fin de su vida, Welles perdió algo de vista el mundo. Actuaciones en “Magnum” o profiriendo “unicorn” en “Transformers: la película”; o un famosísimo anuncio de guisantes congelados son un fin un tanto embarazoso para una carrera plagada de éxitos. Quizás esto es lo que hace de esta situación lo que es: Welles tenía un talento innato para humillar personas.
Transcripción: (gracias a cookdanbomdd.com)
ORSON WELLES [Reading copy]: “We know a remote farm in Lincolnshire where Mrs. Buckley lives. Every July, peas grow there.” Do you really mean that?
COMMERCIAL PRODUCER: Uh, yeah.
WELLES: Don’t you think you really want to say “July” over the pictures of snow? Isn’t that the fun of it?
PRODUCER: Try “in July.”
WELLES: I don’t understand you.
PRODUCER: And can you emphasize a bit the “in”–in July?
WELLES: Why? That doesn’t make any sense. Sorry. There’s no known way of saying an English sentence in which you begin a sentence with “in” and emphasize it. Get me a jury and show me how you can say “in July” and I’ll go down on you. That’s just idiotic, if you’ll forgive me for saying so. It’s just stupid. “In July”! Impossible. Meaningless.
WELLES [Reading copy]: “We know a certain fjord in Norway near where the cod gather in great shoals. There, Yonster, Stenglin …” Shit.
PRODUCER: A fraction more on that shoals thing, ’cause you rolled it around very nicely.
WELLES: Yeah, roll it around. And I have no more time. You don’t know what I’m up against. This is a very wearying one; it’s unpleasant to read. Unrewarding. “Because Finders freeze the cod at sea and then add a crumb-crisp co– crumb-crisp coating.” Ah. That’s tough. “Crumb-crisp coating”– No. You need to break it up. It’s not written conversationally.
PRODUCER: Take “crumb” out.
PRODUCER: Take “crumb” out.
WELLES: Take “crumb” out. Good …
WELLES: Here, under protest, is “beef burgers.” “We know a little place in the American Far West where Charlie Briggs chops up the finest prairie-fed beef and tastes …” This is a lot of shit, you know that? You want one more? More beef?
PRODUCER: You missed the first “beef,” actually.
WELLES: What do you mean, missed it?
PRODUCER: You were emphasizing “prairie-fed.”
WELLES: But you can’t emphasize “beef.” That’s like you wanting me to emphasize “in” before “July.” Come on, fellas, you’re losing your heads. I wouldn’t direct any living actor like this in Shakespeare, the way you do this. It’s impossible.
PRODUCER: Orson, you did six of these last year, and they were far and away the best, and I know the reason.
WELLES: The right reading for this is the one I’m giving it. I’ve spent twenty times longer reading for you people than for any other commercial I’ve ever made. You are such pests. What is it you want? In the depths of your ignorance, what is it you want?
PRODUCER: That was absolutely fine. It really was.
WELLES: You know, you’re, you– No amount of money is worth this. [Welles leaves.]
8. Elton John vs. la vida en sí
El caso: Realmente, Sir Elton nunca ha necesitado una excusa para despotricar, parece hacerlo como parte de su vida diaria. Que el mundo tiemble si Elton John no consigue lo que quiere! Atención a cualquiera que pretenda enfrentarse al cantante! Preparad ojos y oídos para una maravillosa colección de lo que Elton parece saber hacer mejor... Ofenderse fácilmente.
9. David Hasselhoff vs. su alcoholismo y su hija
El caso: Después de una dura batalla contra el alcohol, el que fue Mitch en “Los vigilantes de la playa” recae y decide darse una gran noche en un hotel de las Vegas. Con su hija Taylor Ann plantado cara y un vídeo para capturar la escena, Hasselhoff sólo tiene una hamburguesa para ahogar sus penas. Técnicamente una mala borrachera y no un despotrique; pero David la dedica en gran parte a burlarse de su hija mientras la tiene delante... ¡Padre del año!
Taylor Ann: So Dad, are you gonna do your show tomorrow?
T: You promise me?
H: Hm Hm.
T: You gonna get alcohol?
T: Don’t get alcohol.
T: Don’t get alcohol. Can’t you see what it’s doing to you? You’re on the floor.
H: This is a mess. (He mauls a burger)
T: So Dad, you need to promise me you’re not going to get alcohol tonight, ok?
T: You’re gonna promise me you’re not gonna get alcohol tonight. Ok?
H: Uh huh.
T: Cos if you get alcohol tonight, you are fired from your show tomorrow. And doctor’s coming over here in the morning to check your alcohol level. And if there’s any alcohol in your system, you’re going to be fired from the show. Tomorrow, you hear me? No alcohol
H: Who cheruhhh.
H: Who said?
T: Dan. I just talked to her, and she talked to the manager of the show and they said that tomorrow, if, when the doctors coming over and if there is any alcohol in your blood, then you’re fired from the show. Thank God they are not coming tonight, cos you’d be fired from the show. The doctor’s coming early in the morning, and if you’ve any alcohol in your system, you’re fired from the show. Ok?
H: Ok. (sighs) Jesus Christ. (snorts)
T: So you promise right now Dad.
H: Tell you what?
T: Tell me that you promise you’re not going to get alcohol, and you’re going to stop drinking. Tell me right now.
T: Tell me right not right you’re gonna stop drinking.
H: I’ll be fine.
T: Tell me you’re gonna stop drinking. Tell me right now, or I’m not gonna talk to you ever again. And I will totally disown you because it’s not fair to your family, what you’re doing. Tell me right now. Tell me. You’re not gonna stop are you?
H: I’ll be fine.
T: Tell me you’re gonna stop.
H: I’ll (dribbles) be fine.
T: Tell me you’re gonna stop. Tell me YOU’RE GOING TO STOP!
H: I’m going to stop.
H: Uh huh.
T: Good. That’s what I like to hear.
T: Why do you like doing this to yourself? Huh?
H: Cos I’m lonely.
(talking over each other)
H: I’m lonely, and (inaudible)
T: No you’re not. You have me. You have Hayley.
H: Oh shut…fuck you…(mumbles) life.
H: I don’t have you in my life.
T: Yes you do.
H: Erm, bullshit!
T: What do you mean? What do you expect me to do? Come up here on the days I have school? You chose to come out here, I didn’t choose to come out here. I come up here when I can, every weekend I don’t have S.A.T I come up here. There’s nothing I can do. I change my schedule around because of you. Don’t tell me that I don’t give a shit. Being an asshole right now. And do you know why?
T: Because you drank! And tomorrow morning, you are going to regret everything you ever told me.
H: I don’t have you. I don’t have you.
T: What do you mean, don’t have me?
H: I don’t have you.
T: Of course you have me.
H: No I don’t.
T: What do you mean? You live in Las Vegas. Do you expect me to be up here every day? You throw your life away by drinking. I don’t know why you are. Stupid. Do you like people taking care of you? Cos you’re sat on the floor eating a Wendy’s. You should be running around…
H: I don’t have you! I don’t have Taylor. I don’t have Hayley.
(Hoff proceeds to drink, burp and chew loudly)
10. Evis Presley vs. cordura
El caso: De un episodio con hamburguesa y bebida a otro. En 1974 Elvis ya había perdido bastante de vista el mundo real. Bajo los efectos de varias sustancias y obsesionado con todo tipo de conspiraciones, “el Rey” irrumpió en el escenario en una actuación en las Vegas con esto. El resultado, rarísimo.
Transcripción no disponible
* Tom Cruise vs. un sofá
El caso: La relación del mesías de la cienciología en presnetar “La guerra de los mundos” en el programa de Matt Lauer con el sofá de los invitados no se puede describir con palabras. Locura que no sabemos bien adonde lleva.
Transcripción: (gracias a youcantmakeitup.blogspot)
CRUISE: …ever. Before I was a Scientologist I never agreed with psychiatry. And when i started studying the history of psychiatry, I understood more and more why I didn’t believe in psychology.
And as far as the Brooke Shields thing is, look. You gotta understand, I really care about Brooke Shields. I– I think here’s a– a– a wonderful and talented woman. And– I wanna see her do well. And I know that– psychiatry is– is a pseudo science.
MATT LAUER: But– but Tom, if she said that this particular thing helped her feel better, whether it was the antidepressant or going to a counselor or psychiatrist, isn’t that enough?
TOM CRUISE: Matt, you have to understand this. Here we are today where I talk out against drugs and psychiatric abuses of electric shocking people, okay, against their will, of drugging children with them not knowing the effects of these drugs. Do you know what Aderol is? Do you know Ritalin? Do you know now that Ritalin is a street drug? Do you understand that?
MATT LAUER: The difference is– (OVERTALK)
TOM CRUISE: No, no, Matt.
MATT LAUER: This wasn’t against her will, though.
TOM CRUISE: Matt– Matt, Matt, Matt–
MATT LAUER: But this wasn’t against her will.
TOM CRUISE: Matt, I’m– Matt, I’m asking you a question.
MATT LAUER: I understand there’s abuse of all of these things.
TOM CRUISE: No, you see. Here’s the problem. You don’t know the history of psychiatry. I do.
MATT LAUER: Aren’t there examples, and might not Brooke Shields be an example, of someone who benefited from one of those drugs?
TOM CRUISE: All it does is mask the problem, Matt. And if you understand the history of it, it masks the problem. That’s what it does. That’s all it does. You’re not getting to the reason why. There is no such thing as a chemical imbalance. (OVERTALK)
MATT LAUER: So, postpartum depression to you is–
TOM CRUISE: Matt–
MATT LAUER: –kind of a–
TOM CRUISE: –don’t–
MATT LAUER: –little psychological gook–
TOM CRUISE: That–
MATT LAUER: –googley-gook?
TOM CRUISE: –no. No. I did not say that.
MATT LAUER: I’m just asking what you– what would you call it?
TOM CRUISE: No. No. Abs– Matt, that is– the– post– now– now, you’re talking about two different things.
MATT LAUER: But that’s what she went on the–
TOM CRUISE: No.
MATT LAUER: –antidepressant for.
TOM CRUISE: But what happens, the antidepressant, all it does is mask the problem. There’s ways of vitamins and through exercise and various things. I’m not saying that that isn’t real. That’s not what I’m saying. That’s an alteration of what– what I’m saying. I’m saying that drugs aren’t the answer, these drugs are very dangerous. They’re mind-altering, anti-psychotic drugs. And there are ways of doing it without that so that we don’t end up in a brave new world.
The thing that I’m saying about Brooke is that there’s misinformation, okay. And she doesn’t understand the history of psychiatry. She– she doesn’t understand in the same way that you don’t understand it, Matt.
MATT LAUER: But a little bit what you’re saying Tom is, you say you want people to do well. But you want them do to well by taking the road that you approve of, as opposed to a road that may work for them.
TOM CRUISE: No, no, I’m not.
MATT LAUER: Well, if antidepressants work for Brooke Shields, why isn’t that okay?
TOM CRUISE: I– I disagree with it. And I think that there’s a higher and better quality of life. And I think that promoting for me personally, see, you’re saying what, I can’t discuss what I wanna discuss?
MATT LAUER: No. You absolutely can.
TOM CRUISE: I know. But– but Matt, you’re going in and saying that– that I can’t discuss this.
MATT LAUER: I’m only asking, isn’t there a possibility that– do– do you examine the possibility that these things do work for some people? That yes, there are abuses. And yes, maybe they’ve gone too far in certain areas. Maybe there are too many kids on Ritalin. Maybe electric shock–
TOM CRUISE: Too many kids on Ritalin? Matt.
MATT LAUER: I’m just saying. But– but aren’t there–
TOM CRUISE: Matt.
MATT LAUER: –examples where it works?
TOM CRUISE: Matt. Matt, Matt, you don’t even– you’re glib. You don’t even know what Ritalin is. If you start talking about chemical imbalance, you have to evaluate and read the research papers on how they came up with these theories, Matt, okay? That’s what I’ve done. Then you go and you say where’s– where’s the medical test? Where’s the blood test that says how much Ritalin you’re supposed to get?
MATT LAUER: You’re– you’re– it’s very impressive to listen to you. Because clearly, you’ve done the homework. And– and you know the subject.
TOM CRUISE: And you should.
MATT LAUER: And– and–
TOM CRUISE: And you should do that also.
MATT LAUER: And–
TOM CRUISE: Because just knowing people who are on Ritalin isn’t enough. You should be a little bit more responsible in knowing really–
MATT LAUER: I’m not prescribing Ritalin, Tom. And I’m not asking–
TOM CRUISE: Well–
MATT LAUER: –anyone else to do it. I’m simply saying– (OVERTALK)
TOM CRUISE: Well, you are. You’re saying–
MATT LAUER: I know some people who seem to have been helped by it.
TOM CRUISE: I– but you’re saying– but you– like– this is a very important issue.
MATT LAUER: I couldn’t agree more.
TOM CRUISE: It’s very– and you know what? You’re here on the Today Show.
MATT LAUER: Right.
TOM CRUISE: And to talk about it in a way of saying, “Well, isn’t it okay,” and being reasonable about it when you don’t know and I do, I think that you should be a little bit more responsible in knowing what it is.
MATT LAUER: But–
TOM CRUISE: Because you– you communicate to people.
MATT LAUER: But you’re now telling me that your experiences with the people I know, which are zero, are more important than my experiences.
TOM CRUISE: What do you mean by that?
MATT LAUER: You’re telling me what’s worked for people I know or hasn’t worked for people I know. I’m telling you i’ve lived with these people and they’re better.
TOM CRUISE: So, you’re– you’re advocating it.
MATT LAUER: I am not. I’m telling you in their case–
MATT LAUER: In their individual case, it worked. I am not gonna go out and say–
TOM CRUISE: Matt–
MATT LAUER: –”Get your kids on Ritalin. It’s the cure-all–
TOM CRUISE: Matt, Matt.
MATT LAUER: –and the end-all.”
TOM CRUISE: Matt, but here’s the point. What is the ideal scene for life. Okay. Ideal scene is someone not having to take anti-psychotic drugs.
MATT LAUER: I would agree.
TOM CRUISE: Okay. So, now you look at– and you go okay. A– a departure from that ideal scene is someone taking drugs, okay. And then you go, okay. What is the theory and the science behind that, that justifies that?
MATT LAUER: Let me take this more general, ’cause I think you and I can go around in circles on this for awhile. And i respect your opinion …
Do you want more people to understand Scientology? Is that– would that be a goal of yours?
TOM CRUISE: You know what? I– absolutely. Of course, you know. And people–
MATT LAUER: How do you go about that?
TOM CRUISE: You just communicate about it. And the important thing is, like you and I talk about it, whether it’s — okay, if I wanna know something, I go and find out. Because I don’t talk about things that I don’t understand. I’ll say, you know what? I’m not so sure about that. I’ll go find more information about it so I can– I can come to an opinion based on– on the information that I have.
MATT LAUER: You — you’re so passionate about it. And I’m–
TOM CRUISE: I’m passionate about learning. I’m passionate about life, Matt.
* Lily Tomlin vs. David O'Russell
El caso: ¿De veras craíais que Tomlin soportaría ella bronca de O'Russell que vimos en el episodio anterior de esta historia sin devolvérsela? Ahora le toca a ella.
Lily Tomlin: Leave me the fuck alone. Do you know what the fuck is going on? Period. Fuck you! I’ve had it up to here. (blows nose) Who’s reacting to what for God’s sakes? Fuck you mother fucker. Fuck you, fuck you, fuck you. Get the fucking thing together, fuck you. Oh yeah, bullshit. That’s why we spent five or six hours doing something else? NO! God damn it! You fucked it up, God damn you! Now get straight out and help. If you can’t help them. Help me! That’s right, fuck you too! I will break the fucking set apart. I don’t give a fuck. Oh shut up. You shut the fuck up too.
Dustin Hoffman: Shoot the fucking thing right now.
Tomlin: Oh yeah. You’ll get your shoot. I will be angry if she is angry. That’ll be good.
Hoffman: Just shoot it. Shoot it. Come on.
Tomlin: I don’t care.
Hoffman: I know you don’t. So shoot the fucking. Turn the thing on. Just turn it on.
Tomlin: Who knows. Who knows what up. I don’t have a fucking idea. We are pla…to me there are eight different things going on here. I don’t know whats going on frankly. We are encouraged to do one thing and then, I I I I don’t have the slightest idea. So you are the one whos steering the ship as they say. I’d like to. But you told me to depend on you. (gets flustered) who can depend on anything? I don’t know what to do and what not to do. No, I, oh please. I have no idea. I have no idea what level to play this at, or what not to play it at. And we’ve shot all day.
Hoffman: You see we shot the whole thing David. And we were doing it in a certain tone and we felt good at it, and you said take it down half. (mumbles)
Tomlin: We shot all day. Real broad. Real …(sound cuts out)
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