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Chris Morris: The Best Of

Started by Neil, December 20, 2004, 07:27:48 PM

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Neil

I thought we could have a thread which solely celebrates past CM glories.  Although there have been threads in the past which have tried to pick out the best bits of his GLR or Music Shows I thought it would ne nice to have one thread where we all pick his single best bits for the rest of us to coo at or disagree with.

So anyway, let's make this thread a celebration of how bloody great Chris Morris was before he got lazy and rubbish.  I can quantify  that, by the way, I need to check up the facts and dates with the SOTCAA chaps but I do believe that the quality of his work started to deteriorate right after he started writing stuff with other people.  He was great during On The Hour and beyond because (correct me if I'm wrong) he still worked mainly by himself.  I think part of the problem with his work in recent years is that he gives his collaborators far more leeway than he should.  In some ways I might seem like a hypocrite... I firmly belive that he gets far too much room to do what he wants these days - think for instance about the stories about Nathan Barley and how the people in charge of the channel didn't even know what the show comprised - but I also think that he tends to give too much leeway to his own contributors.

I believe that Chris Morris works best on his own, and I recently had this view reinforced when working through some old interviews.  In the Pub & Bed interview he expresses amazment at the fact that Cook was still able to bark out perfectly formed comedy routines in an informal environment where they were just mainly ad-libbing.  Now if you look at some of his old interviews you'll see that he says much the same of Peter Baynham!  The quote is something like "He's the funniest man I've ever met, he probably roars perfectly-formed comedy routines in his sleep."  That bothers me hugely.  I will admit that I have no real experience of Baynham's improvisational skills - beyond the hilarious gag he cracks in the Lee & Herring Live video - but for Morris to unwittingly put him on the same level as Peter Cook...  Doesn't that bother anyone else?

So Chris Morris then, let's celebrate his writing and performing, another thing that bothers me a lot about him these days is the fact that he seems to be pulling back from performing the stuff he writes.  This started in Blue Jam, was all too apparent in jam, and has now reached a zenith with My Wrongs and Nathan Barley, persumably he won't feature at all in the latter, and if he does it will surely be in some minor pleb-pleasing role.  It's evident that he was completely out of practice in the BES and I can only attribute this to his lack of radio work over the last load of years.  Prior to that show his transition from radio to TV had been breath-taking, but what happened in the interim?  Did his supposed shyness get the better of him?

EDIT: Drunken nonsense

Darrell

- The Wayne Carr 'possé' chats in On the Hour and on the flexidisc about mini CDs and the environment.

- The credits to 'Thank God It's Satire Day', as recently quoted in the Best Morris Names thread!

- The phone-call about dogs with rubber skulls from the first series of On The Hour.

- The entire epic 'Kinnock' item from On The Hour 2.1. Jawdroppingly good. When I first heard it I spent the following week constantly replaying it, laughing more each time rather than less.

- His pitch-perfect playing of Eugene Fraxby in The Day Today's 'Bombdogs' sketch.

- The entire 'Big Street Station Crash' from On The Hour. "Was it large?"

- The 'There Goes A Frog' section of the penultimate Music Show.

- The 'Subcrewman Chesney Christ' phone-call from the Day Today pilot.

- The 'Calls To Franco' stuff from that recently-unveiled GLR show.

- Rok TV. All of it.

And, nothing to Morris AT ALL, but I simply must quote it - Schneider as Lionel Cosgrave claiming "I can't do many impersonations, well, well I can do Michael Crawford" in the very first On The Hour sketch proper. Gold.

Lumiere

I blame a lot of Morris' decline on sheer laziness.

For instance, it's clear that everyone involved with TDT (Morris especially IMO) worked like shit to make the show work. I'd like to think that they realised what was wrong with the pilot show and improved everything of their own accord. I mean, compare Chris Morris from the pilot show (wimpy, similar to the personality-less continuity announcer from OTH, no power) to Chris Morris from the series (vicious, angry and powerful).

However, when Blue Jam made the transition to TV, there was little evidence of effort. Fuck all new sketches, and poor, cheap looking visualisations of classic radio sketches. I think that Morris' mentality at that point was probably "Well, it's me. The plebs will love it no matter what it is."

That's another Morris flaw. Since Blue Jam series 3, Morris has, by and large, created stuff which will mainly appeal to the masses - not his hardcore fans, but A-Level students who think they're geniuses for liking it. Ask non-Morris fans what they remember of BrassEye, and they'll often tell you how great the paedophile episode was. The hardcore fans realised it was a massive cop out, and was incredibly tasteless (for the wrong reasons) in certain parts.
`

Neil

Quote from: "Darrell"- The Wayne Carr 'possé' chats in On the Hour and on the flexidisc about mini CDs and the environment.

Yes, and Wayne Carr in general really, he's the best Morris character ever.  I prefer the GLR incarnation, but his phone call to the backwards masking guy in OTH is absolutely fanastic.  I still can't work out why there were apparently so few prank calls in the GLR shows though!  

Quote- The phone-call about dogs with rubber skulls from the first series of On The Hour.

Yep, have to add in the pisstakes of Radio 4 meddling here too, easily some of the best stuff he's ever done, even to someone who never heard the original programmes!  I tried to make an edit of the "It's Your Things" music for the Morris Music page but it's a bit rubbish.

Quote- The entire epic 'Kinnock' item from On The Hour 2.1. Jawdroppingly good. When I first heard it I spent the following week constantly replaying it, laughing more each time rather than less.

Yep, although VLS makes a fair point here with regards what Morris and co were allowed to get away with.  Still a brilliant segment though.  I remember how much in pain I was from laughing at the last bit of that the first time I heard it.

Quote- The entire 'Big Street Station Crash' from On The Hour. "Was it large?"

Can you repeat that pleeease?  One of the funniest bits of OTH by far.  Also have to mention Wayne Carr's interjections in such segments, like the war one where he plays the Dave Clarke Five's "Bits and Pieces" (was that the actual theme tune to the roadshow quiz?  I assume it was!)

Quote- The 'Subcrewman Chesney Christ' phone-call from the Day Today pilot.

Yes, probably edges out the sort of OTH versions where he's phoning up Heathrow about the new weapon.  What I can't figure out about that bit though is whether they knew the first guy was always getting the wrong calls which prompted him to read out that script?

Quote- The 'Calls To Franco' stuff from that recently-unveiled GLR show.

Very good stuff indeed, but interesting how he lets Garner lead the way in these calls.  It's like a precursor to the R1 calls, with him just sitting back and seeing what Garner will do.  Although the leopard has legs.  Great show though, it's wonderful when they do eventually get Franco in the end.

His vocal abilities are quite extraordinary.  When you're listening to OTH Coogan is obviously fantastic, he's able to come up with voices/accents that are so hilarious that you don't really worry whether they're accurate or not, but Morris can pretty much match him (in that local news bit which makes you think of VLS' TV Hell segments for instance.)  Marber is much the same at times, especially in the "sticky babies" bit.  

Incidentally, I have been going through my KMKYWAP DVD again over the last week and almost fell off me bed laughing at the "Whoopi Goldberg's copper kettle" bit. I had to keep rewinding it, and yet it hardly gets any response from the audience!

skibz

All of the Jack Oeuf segments from On The Hour were fantastic, right down to the ridiculous jingles.

The line, "It's not so much the nein-ties, as the ja-danke-ties" from BE: Drugs - pure genius.

The "It's Your Blood" segment in TDT Episode 1 - probably my favourite Morris moment ever.

The bit just after the Newsbeat  section in the very first Episode of Blue Jam, where he's rapping over that very odd tune - wish I had the mp3 around to get some quotes from it...

Another mention for Rok TV - also, I find the woman he plays (forgotten the name, the one who introduces the Panty Smile advert) strangely attractive...

Pretty much all the Ted Maul reports... "It's time somebody let in the wind.... The wind of change"

And, of course, the bit in On The Hour where he plays Peter Stringfellow an obviously faked sample of Stephen Hawking saying "I think Peter Stringfellow is a big cock"

Hoogstraten'sSmilingUlcer

I agree that Morris works best on his own, or at least partly removed from the rest of the programme/group. I don't want to create some kind of shadowy mistique around him, but I do prefer the idea of him as being a media outsider, who doesn't give a fuck about fame or living up to TV critics' conceit of him. I prefer the shy Morris who mostly lets his work speak for itself, to what he could be - rebellious darling of award ceremonies and Channel 4 execs, perhaps.

I also agree that that was one problem with BES; he co-wrote with too many people (looking at you, Charlie Brooker), instead of keeping with the old Brass Eye gang - Linehan, Matthews, Baynham, Quantick, Bussman. I preferred the overall feel of the Brass Eye series; it feels how great comedy should feel, funny, exciting, fresh, filthy, dangerous. It felt off the cuff, like a superb underground student revue, that detests the pretentions of the formal drama group.

Conversely, the BES felt horribly contrived, and lacked the wit and intelligence of the series - or indeed most of Morris' other work. It didn't feel like it was exploring anywhere new: Morris says that he's got to try new things or he'll feel like zombie, repeating the same old routine, but the BES says and does absolutely fuck all new. For the most part, it could be The 11 o'Clock Show, and worst of all, it doesn't seem like Morris (or the original BE writers) have written it; it feels like it's been written for them by a bunch of Media Studies graduates with a Dummies' Guide to Breaking Taboos.

Aaarrrgh, anger expurged.

The Day Today pilot: Morris' announcement, 'Let's kick the stick from the blind man of ignorance!' still ranks among my favourite Morris moments.

Radio 1 Music Shows: Morris' tirade against shop assistants, and in particular those in hi-fi shops, is brilliant radio, and captures his energy and wit perfectly. Even it was all scripted - though I've always, perhaps naively, thought it was ad lib - it's still excellent, and his 'shop assistant' voice is wonderful. Also, phoning up Newsbeat, cancelling the news but refusing to identify himself.

Blue Jam, Archbishop of Canterbury speech: I know some fans think it's cheap blasphemy, but it's a masterly cut-up and extremely funny, 'Lord of Landmines...Tortoise...tortoise...tortoise.'





 


[/i]

slim

Quote from: "Neil"I believe that Chris Morris works best on his own, and I recently had this view reinforced when working through some old interviews.
Quote from: "Hoogstraten'sSmilingUlcer"I agree that Morris works best on his own, or at least partly removed from the rest of the programme/group.
It's odd you should both say that. Whilst I in no way compare myself to Chris Morris, I keep trying to write some comedy for telly (one day I'll get there) and find it very hard to collaborate. Not that the guy I write with is a bad writer or anything, far from it, but I find it hard to contain ideas within a format. Every time I come up with some funny* concepts, skits, themes or sketches, I work with him to try and find some kind of format for it. You know, a start, middle and end to give it some much needed fluidity and a reason for existing. The trouble is, as soon as I find myself liking what I'm hearing, we work it all out and the ideas instantly dry up. I find it extremely hard to write within boundaries.

I wonder if something similar could occur with Mr. Morris? Or do you mean other aspects of writing in partnership?

* This is subjective, obviously.

Lumiere

I cannae remember which music show it is (22 or 23), but Morris phones up a crappy new-age shop, and asks for all sorts of crappy guff (including a book which opens in the middle).

"And, can you bung all that together?"
"Yeah!"
"And wrap it in nice paper?"
"Yeah!"
"And shove it up your manager's fudge tunnel?"
"I'm sorry?"
click.

slim

Please sir, the woman who he interviews about the charity Jam in The Day Today is one of my favourite bits, sir.



Come on, who'll admit to skim reading that last sentence and thinking I was talking about Jam the series? It was a fiendishly clever ploy, I tellsya, capitalising that J. Mwuuuhahaaa!

Dr David V

jam was listed without a capital 'j'. Face it!

Echoing other comments, the Chesney Christ bit is definetely my favourite bit of Morris, my second being the GLR Gestation Enhancer. Both completely brilliant stuff.

Hemorrhoid Shark

This should probaly go in a seperate thread, but anyways:

Who else agrees that Morris' satirical work (Brass Eye, TDT, OTH) is best appreciated first time round if you don't know it's satire? The first time I saw Brass Eye I genuinely thought it  was real, until Morris piped up about a two-foot testicle.

Now, whenever I introduce people to Morris' work, I never let on that it's a spoof until the last minute. I put the DVD of Brass Eye/TDT on, and pretend that it's a real show, being broadcast on TV. The reaction of the audience usually goes from confusion to stunned disbelief to hysterical laughter in a few seconds, after which I let on what they're watching. I'm convinced that his work is best appreciated first time round if you think it's a serious piece of news reporting. Anyone with me here?

Solid Snail

It took you five episodes to realise that Brass Eye wasn't real?

Watching Brass Eye with some friends, they just sat through about ten minutes of celebrities addressing the camera and discussing some slightly ridiculous subjects before one of them said 'Do they know this is a joke?'

Hemorrhoid Shark

Quote from: "Solid Snail"It took you five episodes to realise that Brass Eye wasn't real?'

Haha. Sadly not, but "Science" was the first episode I ever saw. Actually, it was the first of Morris I ever saw, though looking back now I do vaguely recall seeing a bit of TDT when I was really small and stupid.

Incidentally, the phrase "feckless dregs" still cracks me up for some reason.

Jimmy

Quote from: "Hemorrhoid Shark"
Who else agrees that Morris' satirical work (Brass Eye, TDT, OTH) is best appreciated first time round if you don't know it's satire? The first time I saw Brass Eye I genuinely thought it  was real, until Morris piped up about a two-foot testicle.


Yeah, don't want to derail the thread - but me and my sister were watching the BE DVD once when my mum came into the room. She just stood staring slightly aghast as libyan news footage showed a cow being shot into the sky, while myself and my sister made comments like "its terrible isn't it" to reinforce the idea it was real.I think it was the "scorpions if they eat meat, I dunno" line that gave the game away in the end.

Who was it on here who's dad said of TDT- "whats the world coming to, the IRA are putting bombs in dogs now!" hehe.

mwude

Rothko - obvious choice I know, but it's just sustained brilliant writing and performing.  All the other monologues have sections that flag or drag slightly, but Rothko always keeps me absolutely enthralled from start to finish.  So many superb lines: "He says he's 5, but in fact he's 7" ... "so I repeated myself in dog language" ... "get me some fucking breakfast pickle-pants" ... "like a bear running down a hill too fast" ... "and people shouting RSPCA at me" ... I could go on but the whole fucking thing is superb.

And combined with the vocal performance it just soars.  The monotone beginning, Rothko's snarling voice, the gradual building of pace until everything is spiralling so far out of control in the church.  The music fits in perfectly as well and when Rothko runs into the van & 'Ray of light' starts - "sparrows singing the Dies Irae" - I felt like crying first time I heard it.  Rothko is such a loveable horrible character and I found I was really quite moved when he died.

My Wrongs is ok & if I'd seen that first I'm sure I'd quite like it, but it can't ever possibly compare to the Rothko monologue.  It's nothing like in the same league, it's barely in the same sport.

Hoogstraten'sSmilingUlcer

slim wrote:


QuoteI wonder if something similar could occur with Mr. Morris? Or do you mean other aspects of writing in partnership?

I think Morris works best on his own in a studio, like the GLR and No Known Cure shows, or with Baynham on Radio 1. With those shows, it's fantastic to hear him on his own, letting his imagination fill the studio to brimming point. I think he worked mostly on his own for On the Hour, especially the reports he made, and they were superb. I'm not sure how they/he wrote The Day Todayor Brass Eye, but I always got the impression - mostly from BE - that Morris was very much doing his own thing - be it interviewing celebs, or making reports - away from the group. For example, Rok TV just has Morris, and none of the TDT team; or some of the BE reports just have him and other actors (not Eldon, Heap, or Bullmore), or him in a tiny role (like the borstal sketch in Crime).

I quite like Graham Linehan's advice for budding comedy writers: always work with something you think is funnier than you, because you'll always be aiming higher, rather being complacent that you're better.