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Thread: Buck Henry, ‘The Graduate’ Writer, ‘Get Smart’ Co-Creator, dead at 89

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    Default Buck Henry, ‘The Graduate’ Writer, ‘Get Smart’ Co-Creator, dead at 89

    Source: Deadline.com

    Buck Henry Dies: ‘The Graduate’ Writer, ‘Get Smart’ Co-Creator & Early ‘SNL’ Favorite Was 89


    January 8, 2020 6:49pm






    Shutterstock Buck Henry, the legendary screenwriter behind The Graduate and What’s Up, Doc? who also co-created Get Smart and was a regular presence in the early years of Saturday Night Live, died tonight of a heart attack at Cedars-Sinai Health Center in Los Angeles. He was 89.
    A family member confirmed the news to Deadline.
    Warren Beatty in ‘Heaven Can Wait’ Paramount/Kobal/Shutterstock Henry scored a pair of Oscar nominations — one for his and Calder Willingham’s adapted screenplay for The Graduate and another for directing with Warren Beatty the 1978 movie Heaven Can Wait. He also won a writing Emmy in 1967 for Get Smart, the spy spoof he created with Mel Brooks, among many other accolades. He became a familiar face to a new generation of TV viewers by hosting Saturday Night Live several times during its first five seasons. He might be best remembered as John Belushi’s foil in the classic “Samurai” skits.
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    Buck Henry's Death Leaves Hollywood Straining For Superlatives To Describe His Immense Talent

    Henry also had more than three dozen other acting credits.
    “I wish I could do what writers of my generation do, which is just — open the gate and let it come out,” he said in a 2009 “The Interviews” sit-down for the TV Academy Foundation. “I envy them. It’s hard for me to do. That’s why I liked writing for television because I had to do something every day. … So the best secret is — and it’s not a secret — is just when [you] get stuck in a scene, write nonsense. But do something to keep your hand moving, doing something on the page. That’s all. There are no great insights.” Watch a clip of Henry discussing writing comedy about dark topics below.


    Henry got his start writing for Steve Allen and Garry Moore’s TV shows in the 1960s before penning the script for The Graduate, Mike Nichols’ seminal film starring Dustin Hoffman, Katharine Ross and Anne Bancroft. The film focused on the generation gap of the later 1960s and includes a number of memorable scenes and lines.
    Who could forget Hoffman’s college-age Benjamin Braddock telling Bancroft’s older character, “Mrs. Robinson, you’re trying to seduce me.” Later, after she asks Benjamin, “Do you find me undesirable?” he tells her, “Oh no, Mrs. Robinson, I think you’re the most attractive of any of my parents’ friends.”
    The film — which was adapted from Charles Webb’s book and featured the timeless-but-Oscar-ineligible Simon & Garfunkel hit “Mrs. Robinson” — scored seven Oscar noms including Best Picture, with Nichols winning Best Director. The pic made the top 10 in the AFI’s 100 Years … 100 Movies list in 1998.

    Don Adams as Agent 86 in ‘Get Smart’ Moviestore/Shutterstock Get Smart, starring Don Adams as the bumbling yet somehow effective Maxwell Smart, aka Agent 86, debuted on NBC in 1965. Driven by the popularity of the James Bond films, the CONTROL-vs.-KAOS sitcom was an early hit, finishing the season No. 12 among all primetime programs. Co-starring Barbara Feldon and Edward Platt, it moved to CBS for its fifth and final season in 1969-70. Along with one of TV’s greatest opening credits, a number of the show’s catchphrases would become pop-culture lore: “Missed it by that much,” “I think it’s only fair to warn you …,” “Sorry about that, Chief,” “I demand the Cone of Silence,” “… and loving it” — the list goes on.
    Adams would reprise his iconic role for the 1980 feature The Nude Bomb, and — would you believe … — Steve Carrel starred in a 2008 Get Smart movie.
    In his TV Foundation interview, Henry recalled how he and Brooks got the idea for Get Smart. “Nobody seems to remember it but me,” he said. “I go to [Talent Associates partner Danny Melnick’s office], and he says, ‘I want to give you guys an idea: What are the two biggest movies in the world today? James Bond and Inspector Clouseau. Get my point?’ … It’s parody and satire.”
    ABC paid for the Get Smart pilot but passed on the series. Melnick then took it to NBC titan Grant Tinker, who was looking for a project for his contract actor Adams.
    Henry would focus his writing on the big screen during the 1970s, co-penning the Barbra Streisand starrer What’s Up, Doc? and writing or co-writing book-to-screen adaptations for such films as Catch-22, The Owl and the Pussycat, and The Day of the Dolphin.
    Henry and John Belushi on ‘Saturday Night Live’ SNL/Shutterstock He had appeared onscreen in numerous films and comedy shows by the mid-’70s when he was chosen to host Saturday Live Night during its first season in early 1976. Appearing alongside the Not Ready for Primetime Players, he would go on to host nine more times through 1980, becoming the first person to do the gigfive times — and later 10. Among his memorable characters was the Samurai interviewer/straight man; the creepy Uncle Roy, who menaced children he was babysitting; a sadistic stunt coordinator; and Mr. Dantley, the father of Bill Murray’s uber-nerd Todd in the latter’s famous sketches with Gilda Radner.
    During that time, Henry also created Quark, a short-lived 1978 NBC comedy starring Richard Benjamin that spoofed the era’s popular space epics. In 1984, NBC debuted variety-sketch series The New Show, on which Henry was a regular alongside SCTV alum Dave Thomas and others. It aired briefly as a midseason replacement.
    Henry would go on to co-pen the Nicole Kidman feature To Die For (1995) and the star-laden 2001 pic Town & Country. Early big-screen screenplay credits include the Radner-led First Family (1980) — his only feature directing credit other than Heaven Can Wait — and Candy (1968), whose cast included Marlon Brando, Richard Burton, James Coburn and Walter Matthau.
    Henry in ‘Taking Off’ Universal/Kobal/Shutterstock Henry also had acting roles in dozens of movies — including most of the ones he wrote — and appeared as a guest on numerous talk shows including those hosted by Johnny Carson, David Letterman, Dick Cavett, Mike Douglas and David Frost. His most recent acting credits include episodes of Franklin & Bash, Law & Order: SVU, Hot in Cleveland and 30 Rock, twice playing the father of Tina Fey’s Liz Lemon.
    Among the many awards Henry racked up during his career are 1994 Golden Globe and Venice Film Festival prizes as part of theensemble in Robert Altman’s Short Cuts, BAFTA and Writers Guild awards for writing The Graduate and another WGA Award for What’s Up, Doc?
    Survivors include his wife, Irene, who was by his side when he died. He had no children.



    Source: The Hollywood Reporter

    Buck Henry, Fun-Loving Screenwriter and Actor, Dies at 89

    9:19 PM PST 1/8/2020byMike Barnes

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    Buck Henry

    The comic genius penned 'The Graduate,' 'What’s Up, Doc?' and 'To Die For,' co-created 'Get Smart' and was a legend of 'Saturday Night Live.'
    Buck Henry, the impish screenwriter whose wry, satirical sensibility brought comic electricity to The Graduate, What’s Up, Doc?, To Die For and TV’s Get Smart, has died. He was 89.
    Henry, a two-time Oscar nominee who often appeared onscreen — perhaps most memorably as a 10-time host (all in the show’s first four years) on Saturday Night Live — died of a heart attack Wednesday at a Los Angeles hospital, his wife, Irene, toldThe Washington Post. He had suffered a stroke in November 2014.
    With his sad visage, owlish spectacles and ubiquitous baseball cap, Henry crafted the persona of a playful egghead. He was described by the late Los Angeles Times film critic Charles Champlin as having the “operative demeanor of a kind of organized Wally Cox.”
    Henry was adept at reshaping scripts, and he credited his talent for adaptation to his early years of working on TV variety shows, where he wrote for hundreds of comedians and actors and was able to channel their individual “voices.”
    When producer Lawrence Turman and director Mike Nichols were unhappy with Calder Willingham’s too-dark script for The Graduate (1967) — based on the 1963 novel by Charles Webb about a recent college graduate who has an affair with the wife of his father’s business partner — Nichols gave the untested Henry a crack at it.
    “He wasn’t a screenwriter when I asked him to write the screenplay. He improvised comedy,” Nichols recalled in a 2008 interview with Vanity Fair. "He had not, to my knowledge, written anything. And I said, ‘I think you could do it; I think you should do it.’ And he could, and he did.”
    At the time, Henry was working in his second season as story editor for Get Smart, the sidesplitting spy spoof he created with Mel Brooks.
    "Turman, Nichols and I related to The Graduate in exactly the same way," Henry told Vanity Fair. "We all thought we were [the book’s protagonist] Benjamin Braddock. Plus, it’s an absolutely first-class novel, with great characters, great dialogue, a terrific theme. Who could resist it? I read it and I said, 'Yes, let’s go.'"
    Henry landed his first Oscar nom for the screenplay (he came up with the word "plastics" and had a small role in the film) and received a second nom for co-directing (with Warren Beatty) the reincarnation comedy Heaven Can Wait, a remake of the 1941 film Here Comes Mr. Jordan.
    Most recently, Henry and Michal Zebede adapted Philip Roth’s 2009 novel for Barry Levinson’s The Humbling, which starred Al Pacino as a fading actor and was released in 2014 after screening at the Venice and Toronto film festivals.
    Henry was born Henry Zuckerman on Dec. 9, 1930, in New York City. His mother was Ruth Taylor, a silent-screen actress who played the gold-digger Lorelei Lee in a now-extinct 1928 film version of Gentlemen Prefer Blondes; his father, Paul, was an Air Force general and Wall Street broker whose friends included Ernest Hemingway and Humphrey Bogart.
    His grandfather, whom he was named after, was nicknamed Buck.
    Henry attended the private Dalton School in Manhattan and Harvard Military Academy in Los Angeles, made his acting debut at 16 in a road company production of Life With Father and graduated from Dartmouth (where his fellow schoolmate was future Five Easy Pieces director Bob Rafelson) in 1952.
    He served two years in the Army in Germany, first as a helicopter mechanic and then, more aptly, in special services, co-writing a musical comedy and touring military bases with it.
    Back in New York, Henry kept busy by masquerading as G. Clifford Prout, the president of The Society for Indecency to Naked Animals, a faux organization out to convince America to clothe their pets and barnyard animals. The whole thing was an elaborate joke — and he was amazed that thousands of people bought into it.
    “[SINA was invented] for a host of reasons, most of them having to do with indecency and immorality,” Henry explained with a straight face during a 2009 interview for the Archive of American Television.
    “Practical reasons, too: The high incidents of young people who became traumatized by their contact with naked animals and grew up twisted. And the high incidents of automobile accidents on the road near farms and ranches where people got glimpses of naked animals and swerved into trees. And we had charts proving this stuff.”
    He tried to close down the San Francisco Zoo, that “burlesque house of the animal world,” and got front-page coverage in the Examiner newspaper. Henry even appeared as Prout on the Today show and in a segment taped in Los Angeles for the CBS Evening News With Walter Cronkite.
    The hoax unraveled when CBS employees recognized him, and he said that Cronkite never forgave him.
    In 1962, Henry joined The Premise, an off-Broadway improvisational group whose members included George Segal and Theodore J. Flicker (who went on to create ABC’s Barney Miller). He did a stint as a stand-up comic, but that didn’t last long. “I never liked working in places where people drank and yelled at me,” he said.
    Henry landed jobs writing for variety shows led by Steve Allen and Garry Moore, and when David Frost refashioned his British TV news satire That Was The Week That Was for American audiences, he appeared on the program and wrote for it as well.
    After Henry co-wrote and starred in The Troublemaker (1964), which featured several members of The Premise, Dan Melnick, a partner in the production company Talent Associates, approached Brooks and Henry about his idea for the comedy that would become Get Smart.
    “I’m going to tell you what I told Mel in a previous meeting,” Melnick told Henry. “What are the two big deals in show business right now? Inspector Clouseau and James Bond. Get the point?”
    Brooks and Henry’s pilot was turned down by ABC, but NBC, looking for a series for comic Don Adams, jumped on it. With Adams playing bumbling CONTROL Agent 86, Get Smart ran for five seasons. (Henry left the show after the first two.)
    Henry, who won an Emmy (shared with Leonard Stern) in 1967 for writing the two-part episode “Ship of Spies,” came up with the cone of silence shtick for the sitcom. (Brooks invented the shoe phone.)
    Henry and director Peter Bogdanovich found inspiration from the great screwball comedies of yesteryear in making What’s Up, Doc? (1972), which starred Barbra Streisand and Ryan O’Neal in a story spinning around four identical plaid overnight bags. (Henry took the original script by Bogdanovich, Robert Benton and David Newman and retooled it, adding a fourth suitcase.)
    What’s Up, Doc? grossed $66 million ($374 million in today’s dollars) in the U.S. and Canada, trailing only The Godfather and The Poseidon Adventure that year.
    Henry adapted Joyce Maynard’s 1992 book, which was based on an actual New England murder case, for the Gus Van Sant black comedy To Die For (1995), with Nicole Kidman as an icy TV weathergirl who’ll stop at nothing to get ahead.
    Henry also wrote for the Nichols films Catch-22 (1970), adapted from the Joseph Heller novel, and the drama The Day of the Dolphin (1973); Candy (1968), adapted from the Terry Southern book; The Owl and the Pussycat (1970), with Streisand and his pal Segal; First Family (1980), starring Bob Newhart as the president, Madeline Kahn as the first lady and Gilda Radner as their daughter (he directed that one as well); Protocol (1984), topped by Goldie Hawn; and Town & Country (2001), starring Beatty.
    For TV, Henry also created the 1967 NBC comedy Captain Nice, centered on a mild-mannered guy (William Daniels) who becomes a superhero, and the late ’70s NBC sci-fi spoof Quark, which starred Richard Benjamin. Both series were short-lived.
    As an actor, Henry was memorable in Milos Forman’s Taking Off (1971) as a father seeking the whereabouts of his runaway daughter; in Catch-22 as Lt. Col. Korn; and in Nicolas Roeg’s The Man Who Fell to Earth (1976) as David Bowie’s business partner.
    In Robert Altman’s The Player (1992), Henry pitched an absurd Graduate: Part II to the studio exec played by Tim Robbins (it was Henry, not the director, who came up with the idea of what the pitch would entail) during the movie’s landmark eight-minute opening sequence.
    “When the film was over [after an industry screening], I walked into the lobby, and a guy comes up to me and says, ‘Hi, I’m so and so, I’m at Universal,’” Henry recalled in a 1996 interview with the Museum of the Moving Image. “ ‘It was very funny, but listen: Just between you and me, don’t you think there’s a shot that we take as a sequel to The Graduate?’ ”
    Later, he was Tina Fey’s dad on 30 Rock and made it to the altar with Betty White on Hot in Cleveland.
    In the early years of Saturday Night Live, Henry was about as close to being a Not Ready for Primetime Player as one could get. He was creepily funny as Uncle Roy, a dirty old man babysitting tots Radner and Laraine Newman, and he regularly appeared in skits opposite samurai John Belushi, who worked in a deli or as a TV repairman, optometrist, etc.
    In the taping for a “Samurai Stockbroker” sketch in 1976, Belushi swung his sword and accidentally took a chunk out of Henry’s forehead. Henry recoiled, then smashed through a wall (that part of the sketch was planned), suffering cuts to his leg as well.
    Belushi’s doctor, who was on the scene, patched Henry up during the next commercial break. Chevy Chase had the idea to do “Weekend Update” with a bandage on his head, and by the end of the show, everyone in the cast was sporting bandages as well.
    “It was very good,” Henry said.
    Duane Byrge contributed to this report.



    Source: The Washington Post

    Buck Henry, ‘Graduate’ screenwriter who co-created ‘Get Smart,’ dies at 89

    Buck Henry on location for his 1980 film “The First Family,” which he wrote and directed. (John McDonnall/The Washington Post)By Harrison Smith



    Jan. 9, 2020 at 6:14 a.m. GMT+1



    Buck Henry, a comedian who created the satirical spy sitcom “Get Smart” with Mel Brooks, was a frequent early host of “Saturday Night Live” and turned “plastics” into a countercultural catchword with his Oscar-nominated screenplay for “The Graduate,” died Jan. 8 at a hospital in Los Angeles. He was 89.



    The cause was a heart attack, said his wife, Irene Ramp.




    A restless entertainer, Mr. Henry dabbled in improvisationalcomedy as well as theater, television and film. He received an Academy Award nomination for co-directing the 1978 afterlife comedy “Heaven Can Wait” with star Warren Beatty; wrote scripts for the sex farce “Candy” (1968), based on the novel by Terry Southern, and the Barbra Streisand screwball comedies “The Owl and the Pussycat” (1970) and “What’s Up, Doc?” (1972); and appeared as a droll supporting actor in nearly every film he helped create, including a turn as an anxiety-inducing hotel clerk in “The Graduate” (1967).


    “I never wanted to stay at anything very long,” he told the New York Times in 2002, while performing in a Broadway revival of the Paul Osborn comedy “Morning’s at Seven.” “I’m moderately lazy, and I’m interested in much too large a list of things other than my career.”


    In 1983, from left, are Dave Thomas, Steve Martin, producer Lorne Michaels, Valri Bromfield, Jeff Goldblum and Buck Henry. (Richard Drew/AP)
    Mr. Henry maintained a close association with “Saturday Night Live,” where he hosted 10 episodes in the show’s first five seasons and helped establish its transgressive brand of humor.

    He played Lord Douchebag, an 18th-century English nobleman who observed that “Parliament has always had its share of Douchebags, and it always will,” and he portrayed a film actor who abuses a “stunt baby,” throwing the crying infant — a prop — against a grandfather clock before flinging it through a glass window.


    The skit, and a follow-up that featured a howling “stunt puppy,” triggered a torrent of angry letters from viewers. But the segment seemed almost timid compared with Mr. Henry’s depiction of Uncle Roy, a Polaroid-wielding babysitter who encourages his young wards (Laraine Newman and Gilda Radner) to lift their dresses and hunt for “buried treasure” in his pants.


    Created by writers Anne Beatts and Rosie Shuster, the recurring segment first aired in 1978. At Mr. Henry’s urging, the writers crafted a closing joke in which Uncle Roy slyly gazed into the camera and insisted that he was not “one in a million,” but rather that “there’s more of me than you might suspect,” a reference to what Mr. Henry took to be the widespread nature of pedophilia.

    “In other words,” Mr. Henry said in “Live from New York,” a 2002 oral history of SNL, “I talked myself into the fact that we were performing — or that I was performing — a public service.”
    Off camera, Mr. Henry cultivated a reputation as a dry-witted comedian-intellectual, claiming to read 200 periodicals each year.
    He was “the funniest and most serious guy I’d ever met — simultaneously,” said the late director Mike Nichols, a childhood friend with whom Mr. Henry collaborated on an adaptation of Joseph Heller’s “Catch-22” (1970) and, somewhat less successfully, “The Day of the Dolphin” (1973), a thriller about a plot to assassinate the president using English-speaking dolphins.

    “The Graduate,” based on Charles Webb’s 1963 novella, remained their most enduring project. The film made a star of Dustin Hoffman, who played Benjamin Braddock, a college graduate who has an affair with his parents’ friend Mrs. Robinson (Anne Bancroft). Mixing wry comedy, sexual drama and a soundtrack by Simon & Garfunkel, the film captured the alienation and rebelliousness of the era and was later ranked No. 7 on the American Film Institute’s list of the 100 best American movies.





    Much to his frustration, Mr. Henry shared his Oscar nomination for “The Graduate”with Calder Willingham, who had worked on previous attempts to adapt the novel and sued to receive partial credit for the screenplay.

    The book provided much of the film’s dialogue — including the oft-quoted line “Mrs. Robinson, you are trying to seduce me. Aren’t you?” — but it was Mr. Henry who devised the “plastics” exchange, in which a business associate of Benjamin’s parents offers career advice to the lost young man.


    “I just want to say one word to you, just one word,” the businessman declares. “Plastics. . . . There’s a great future in plastics. Think about it. Will you think about it?”
    The suggestion neatly encapsulated what some viewers saw as the artificiality and materialism of older generations.

    “I was trying to find a word that summed up a kind of stultifying, silly, conversation-closing effort of one generation to talk to another. Plastics was the obvious one,” Mr. Henry told the Orlando Sentinel in 1992. “I was embarrassed some years later. I got to know some people in the plastics business, and they were really nice.”

    Henry Zuckerman was born in New York on Dec. 9, 1930. (Long known as Buck, after a grandfather, he later legally changed his name, his wife said.) An only child, he invented a pair of imaginary siblings, telling friends they lived in New Jersey because he assumed nobody would ever go there to visit. His father was a prominent stockbroker, and his mother was silent-film actress Ruth Taylor, who played the flighty Lorelei Lee in the 1928 gold-digging comedy “Gentlemen Prefer Blondes.” (Marilyn Monroe portrayed Lee in the 1953 screen musical version.)

    Mr. Henry graduated from Dartmouth College in 1952 and performed with an Army theater group before beginning a long, Benjamin Braddock-like period of what Mr. Henry described as “vigorous, total unemployment, characterized by a great deal of sleep.”




    That lifestyle changed around 1960, when hebegan performing with the Premise, a Greenwich Village improv group, and developed an offstage alter ego as G. Clifford Prout, the prudish president of a spoof organization called the Society for Indecency to Naked Animals.

    Founded by prankster Alan Abel, the group took comic aim at “uptight, silly morality chasers,” as Mr. Henry put it. He declared that “a nude horse is a rude horse,” attempted to place boxer shorts on a baby elephant and was covered by credulous news programs including Walter Cronkite’s “CBS Evening News.”


    The exposure helped him land writing jobs for TV variety programs and appearances on “That Was the Week That Was,” a satirical news show. With Ted Flicker, founder of the Premise, he also wrote his first movie, “The Troublemaker” (1964), a comedy about a farmer who arrives in New York to start a coffee shop and realizes he must bribe officials to cut through red tape.

    The film bombed — “the world wasn’t really waiting for the final definitive attack on the cabaret-licensing system in New York City,” Mr. Henry quipped — but that same year he was paired by a production company with Brooks in an effort to duplicate the success of the spy series “The Man from U.N.C.L.E.”

    The result was “Get Smart,” a sitcom featuring Don Adams as bumbling secret agent Maxwell Smart. The series debuted in 1965 and resulted in an Emmy Award for writing for Mr. Henry, who served as the story editor for two of its five seasons. (Mr. Henry’s relationship with the better-known Brooks frayed over the issue of equal billing, with credits listing the show as “By Mel Brooks with Buck Henry.”)

    Mr. Henry’s first marriage ended in divorce, and in 2008 he married Irene Ramp, his sole immediate survivor.


    His later film credits included the critically disappointing 1980 political farce “First Family,” which was written and directed by Mr. Henry and featured Bob Newhart as an ineffectual U.S. president, and the screenplay for “To Die For” (1995), a mockumentary about a murderously ambitious newscaster played by Nicole Kidman.

    Mr. Henry also continued acting, appearing as Tina Fey’s father in the NBC sitcom “30 Rock” and as himself in Robert Altman’s 1992 movie “The Player,” a Hollywood satire that began with Mr. Henry pitching a producer on a sequel to “The Graduate.”

    The movie, he said, would be set 25 years after the original and would feature a stroke-impaired Mrs. Robinson living with her daughter, Elaine, who had by then married Braddock; Julia Roberts would play their adult daughter.


    “I thought . . . it would stop people from ever calling me about a sequel,” he told the film magazine Cineaste in 2001. “Instead, of course, the opposite happened. There was a big screening . . . and my scene got a big laugh. In the lobby afterwards, a studio guy came over and said, ‘Good joke, good joke. Now let’s talk serious about it.’ So dumb ideas never die.”
    See him in Heaven Can Wait from around the 2:40 mark:
    https://youtu.be/-S-s9_iNNvg
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    This is the clip that didn't show up in the first post.

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