His delivery was flat. His beady eyes revealed a mind constantly at work. Andy Kaufman threw every joke away -- he delivered bad lines, well, badly. Herein lay the source of his genius: he committed to the premise of the joke and ignored punchlines as byproducts of the comedic process. Every bad gag,
"To me, bad taste is what entertainment is all about," flamboyant filmmaker John Waters has said. "If someone vomits watching one of my films, it's like getting a standing ovation." Just check out the infamous scene in the cult classic "Pink Flamingos" (1972), in which a 300-pound transvestite cheerf
"Film is like a battleground," Sam Fuller once said. Although he was speaking not as himself but in a cameo role as a filmmaker in Jean-Luc Godard's "Pierrot le Fou," the comparison applies perfectly to his own directorial work. Cigar firmly planted between his lips, Fuller has been getting tough in
"I believe that we respond most and best to work in any art form (and to other experience as well) if we are pluralistic, flexible, relative in our judgments, if we are eclectic," wrote Pauline Kael, the undisputed queen of journalistic film criticism.
Born in tiny Petaluma, California, Kael went