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I've just watched an excellent documentary about the sublime Joyce Grenfell called Comedy With Breeding, and felt compelled to post one of her monologues. I know her most famous work is the "George, don't do that", nursery monologue, but she wrote hundreds, and fortunately many were filmed. Here's one...

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Carrie Fisher said something in an interview that perfectly captures how creative instinct works. She was asked whether reinventing herself as a writer was a conscious decision. Her answer: "I don't think I've made many conscious decisions. I make most of my decisions in my sleep." She didn't sit down one day and declare herself a writer. It was a slow evolution, pulled forward by what she actually loved consuming. "I wrote fiction, which is what I read. And now I write screenplays, which is what I watch." That's a principle worth sitting with. She was simply doing the thing she already did for pleasure. The writing path itself began almost accidentally. After an interview in Esquire, she was approached to write a non-fiction book. That fell apart. She couldn't even remember the format she was supposed to write in. "Essays or something," she said. "See, you can't even think of the name for it. That's why I couldn't do it." So she did what made sense to her and wrote fiction instead. The screenwriting came the same way. But what most people don't know is that Fisher was doing script work decades before it became widely known. She learned punchup by necessity, not by design. On the set of Star Wars, she and Harrison Ford were handed dialogue that simply could not be spoken aloud. She described telling George Lucas: "You can type this, but you cannot say it. It'll take a couple of minutes for the nava computer to calculate the coordinates." She said it took 20 takes. Out of self-defence, she started reworking lines. Ford did the same. That habit eventually turned into a career doing punchup for major Hollywood films, helping writers fix dialogue that looked good on the page but died in the room. And then there was the work she wrote for her mother, Debbie Reynolds. Two television pilots, neither of which ever aired. Her reason for wanting to work with her mother is one of the more honest things ever said about family dynamics in Hollywood. "The main thing I want to do is work with my mom so that we don't have to have those Christmas dinners anymore. Just have a job with her and you can order her around." It didn't go the way she planned. Her grandmother showed up and bossed both of them around and, as Fisher put it, "got all the money."

History Nerd

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