Tuxedo Film Quotes

Harriet dreamt of someone well dressed and flamboyant, who spoke like the lead in a black and white film, who drank champagne like other people drank Carling and who could talk about history and philosophy and life for hours, without making themselves sound like an idiot. Someone who made romantic gestures, who was generous to everyone and extravagant towards her. Someone, for preference, who rowed and had the muscles to prove it. When she was really having a bad day, someone with a title. Every time a well-meaning access scheme leaflet tried to reassure her and all the other state school applicants that Oxford wasn’t wall to wall Old Etonians permanently dressed in tuxedos, she died a little inside.

Our life together was filled with contrasts. One week we were croc hunting with Dateline in Cape York. Only a short time after that, Steve and I found ourselves out of our element entirely, at the CableACE Award banquet in Los Angeles. Steve was up for an award as host of the documentary Ten Deadliest Snakes in the World. He lost out to the legendary Walter Cronkite. Any time you lose to Walter Cronkite, you can’t complain too much. After the awards ceremony, we got roped into an after-party that was not our cup of tea. Everyone wore tuxedos. Steve wore khaki. Everyone drank, smoked, and made small talk, none of which Steve did at all. We got separated, and I saw him across the room looking quite claustrophobic. I sidled over. “Why don’t we just go back up to our room?” I whispered into his ear. This proved to be a terrific idea. It fit in nicely with our plans for starting a family, and it was quite possibly the best seven minutes of my life! After our stay in Los Angeles, Steve flew directly back to the zoo, while I went home by way of one my favorite places in the world, Fiji. We were very interested in working there with crested iguanas, a species under threat. I did some filming for the local TV station and checked out a population of the brilliantly patterned lizards on the Fijian island of Yadua Taba. When I got back to Queensland, I discovered that I was, in fact, expecting. Steve and I were over the moon. I couldn’t believe how thrilled he was. Then, mid-celebration, he suddenly pulled up short. He eyed me sideways. “Wait a minute,” he said. “You were just in Fiji for two weeks.” “Remember the CableACE Awards? Where you got bored in that room full of tuxedos?” He gave me a sly grin. “Ah, yes,” he said, satisfied with his paternity (as if there was ever any doubt!). We had ourselves an L.A. baby.

Dean Martin, and Sammy Davis Jr. The cool kids of the 1960s invited the old man who had been cool before they knew cool was cool to join them in a musical romp that nobody took particularly seriously. Crosby enjoys himself. He has nothing at stake, since he’s not the star who has to carry the film. He’s very casual, and appears to be ad-libbing all his lines in the old Road tradition with a touch of W. C. Fields’s colorful vocabulary thrown in: “You gentlemen find my raiment repulsive?” he asks Sinatra and Martin when they object to his character’s lack of chic flash in clothing. Crosby plays a clever con man who disguises himself as square, and his outfits reflect a conservative vibe in the eyes of the cats who are looking him over. The inquiry leads into a number, “Style,” in which Sinatra and Martin put Crosby behind closet doors for a series of humorous outfit changes, to try to spruce him up. Crosby comes out in a plaid suit with knickers and then in yellow pants and an orange-striped shirt. Martin and Sinatra keep on singing—and hoping—while Crosby models a fez. He finally emerges with a straw hat, a cane, and a boutonniere in his tuxedo lapel, looking like a dude. In his own low-key way, taking his spot in the center, right between the other two, Crosby joins in the song and begins to take musical charge. Sinatra is clearly digging Crosby, the older man he always wanted to emulate.*17 Both Sinatra and Martin are perfectly willing to let Crosby be the focus. He’s earned it. He’s the original that the other two wanted to become. He was there when Sinatra and Martin were still kids. He’s Bing Crosby! The three men begin to do a kind of old man’s strut, singing and dancing perfectly together (“…his hat got a little more shiny…”). The audience is looking at the three dominant male singers of the era from 1940 to 1977. They’re having fun, showing everyone exactly not only what makes a pro, not only what makes a star, but what makes a legend. Three great talents, singing and dancing about style, which they’ve all clearly got plenty of: Frank Sinatra, Bing Crosby, and Dean Martin in Robin and the 7 Hoods

I also bought an evening dress suit from a secondhand clothing store in Charing Cross Road. It was double-breasted and in a very heavy, uncomfortable material, and I looked, frankly, stupid in it, but it was the only one I could afford. Miss Leigh announced to us one day that Gone with the Wind was going to be rereleased theatrically, and she requested the pleasure of our entire company at the premiere, which would be my first. And so, also for the first time, I had to wear that tux in public. I had by this time bid farewell to my friends and moved out of the boardinghouse, to slightly nicer digs that were walking distance from the London Coliseum in St. Martin’s Lane. This meant that I would not need to get out of a taxi and walk the red carpet—I knew that I looked idiotic in my tuxedo and wanted to keep a low profile. Inside, there was a champagne reception before the film in the upstairs bar, and my castmates had a field day making fun of me and my shit suit. Evidently, Miss Leigh caught sight of this scene and took pity on me. For all of a sudden, her boyfriend, John Merivale, was at my side, whispering into my ear that he was going to be sitting on one side of Vivien at the screening and that she had requested that I sit on her other side. I was already besotted with her, and this act of kindness only intensified my feelings. The capper was that, once I was seated beside her, I addressed her as “Miss Leigh” and she took my hand in hers. “Patrick,” she said, “you are to call me Vivien.” My erstwhile Irish roommate was right: The memorable experiences were already piling up. One more happened that evening. The film had been running for about an hour when Vivien—I still couldn’t quite believe I got to call her that—turned to me and again took my hand. I could see that she was crying. “I am so sorry, Patrick, but I am going to have to leave,” she said. “So many of these dear people I worked with are now dead, and it is making me so sad. I hope you enjoy the rest of it.” And off she went into the night.

The Director’s Chair is with Francis Ford Coppola (The Godfather, Apocalypse Now, etc.), and Robert refers later to this quote from Francis: “Failure is not necessarily durable. Remember that the things that they fire you for when you are young are the same things that they give lifetime achievement awards for when you’re old.” ROBERT: “Even if I didn’t sell Mariachi, I would have learned so much by doing that project. That was the idea—I’m there to learn. I’m not there to win; I’m there to learn, because then I’ll win, eventually. . . . “You’ve got to be able to look at your failures and know that there’s a key to success in every failure. If you look through the ashes long enough, you’ll find something. I’ll give you one. Quentin [Tarantino] asked me, ‘Do you want to do one of these short films called Four Rooms [where each director can create the film of their choosing, but it has to be limited to a single hotel room, and include New Year’s Eve and a bellhop]?’ and my hand went up right away, instinctively. . . . “The movie bombed. In the ashes of that failure, I can find at least two keys of success. On the set when I was doing it, I had cast Antonio Banderas as the dad and had this cool little Mexican as his son. They looked really close together. Then I found the best actress I could find, this little half-Asian girl. She was amazing. I needed an Asian mom. I really wanted them to look like a family. It’s New Year’s Eve, because [it] was dictated by the script, so they’re all dressed in tuxedos. I was looking at Antonio and his Asian wife and thinking, ‘Wow, they look like this really cool, international spy couple. What if they were spies, and these two little kids, who can barely tie their shoes, didn’t know they were spies?’ I thought of that on the set of Four Rooms. There are four of those [Spy Kids movies] now and a TV series coming. “So that’s one. The other one was, after [Four Rooms] failed, I thought, ‘I still love short films.’ Anthologies never work. We shouldn’t have had four stories; it should have been three stories because that’s probably three acts, and it should just be the same director instead of different directors because we didn’t know what each person was doing. I’m going to try it again. Why on earth would I try it again, if I knew they didn’t work? Because you figured something out when you’re doing it the first time, and [the second attempt] was Sin City.” TIM: “Amazing.

wet suit—and revealed white tie and tails underneath. Removing a small bottle of Hennessy XO cognac from his pocket, he took a swig and sprinkled a few drops over his elegant evening clothes. Only then did he stroll nonchalantly past a luxury seaside hotel crawling with German officers and hop on a tram—just another tipsy young Dutchman on his way home from a long night of partying. (Tazelaar’s exploit inspired the opening scene in the James Bond film Goldfinger, in which Bond goes ashore wearing a tuxedo under his wet suit.)