March 11, 1994
Merry Hartman, Merry Hartman
By Jess Cagle
(The following article appeared in the March 11, 1994 issue of Entertainment Weekly, just after Phil Hartman announced his decision to leave "Saturday Night Live.")
Frank Sinatra to Tonya Harding: "Ya know, if ya want ta do a job, ya don't tap 'em on da knee wid a metal rod. It's da old Louisville Slugger, baby!" Actually, it's not Sinatra, but an incredible simulation: Phil Hartman, whose renditions of the Chairman, Bill Clinton, and an unfrozen caveman lawyer have - made Saturday Night Live tingle for eight seasons. He's sitting at a bulky picnic table on the brick patio of his opulent Encino, Calif., ranch house, going on about the characters he's lining up for his own prime-time NBC variety show, expected to debut this fall. Characters like Chick Hazard, a hard-boiled '40s detective: "I'm a sucker for long legs. I wanted to shinny up one of hers like a native boy looking for coconuts," says Hartman, breaking himself up, while somewhere deep inside the house the real Sinatra sings from a speaker.
When Hartman, 45, waves goodbye to SNL at the end of this season, he will leave a legacy of 153 shows-a record for a regular cast member. While colleagues like Dana Carvey, Mike Myers, and Jan Hooks cashed in on their late-night success in Hollywood, he stayed behind. "I haven't had the breakout character," he says without much regret. "I've sorta been going, 'Well, I guess it's not in the cards for me.'"
Now the cards are being reshuffled. As Frank, the pastel-clad slimeball in the new comedy Greedy, he's getting the highest critical marks in a cast that includes Kirk Douglas and Michael J. Fox. Off camera he was equally entertaining. "His Spartacus was more Kirk than Kirk," says director Jonathan Lynn, who offered Hartman a leading role in his next film, Sgt. Bilko. "It was funny watching them speak to each other in the same voice."
His SNL colleagues call him "The Glue": He holds the show together. "I've served the same role that Dan Aykroyd did," says Hartman, "the average guy who you could put wigs and glasses and noses on and make into a lot of different things. I've been sympathetic dads, scary attorneys, insane killers, and Frank Sinatra, who is sort of an amalgam of all those things."
His SNL relationship, however, may not be ending so amicably. Recently the New York Daily News reported that executive producer Lorne Michaels was so upset by Hartman's departure that he was punishing him by leaving him out of sketches. Hartman calls the item "way off the mark. For one thing, Lorne Michaels is a friend of mine. This is the guy who gave me a new lease on life." Hartman does, however, criticize the show's attempts to please its younger viewers. "The shows are getting less sophisticated," he says. "There's less political satire. The younger audience loves Adam Sandler (Opera Man). He appeals less to the intellect and more to that stand-up sensibility of 'Let's go out there and be insane.' I like Adam Sandler, but that's not my kind of comedy, so, yeah, in a way it makes me feel like, 'Well, it's time for me to go.'" Michaels was unavailable for comment.
The Phil Show will be Hartman's reward for nearly two decades of dues paying that began when he left graphic design (he came up with the Crosby, Stills & Nash logo) to join the Groundlings, an L.A. improv troupe. There he helped Paul Reubens develop his Pee-wee Herman act and cowrote the 1985 hit Pee-wee's Big Adventure. Before Laraine Newman and Penny Marshall recommended him for SNL, he toiled in a half dozen TV pilots and stuff like Cheech and Chong's Next Movie.
Hartman hopes that Phil will be a beacon to those feeling disenfranchised not only by SNL but by "the entire Fox network, (which) seems skewed toward an urban, booty-doody humor."
Booty-doody?
"Yeah," he says. "It's all, like, 'Look at the size of his butt!' It's the kind of thing that makes middle-class white people cringe. Their a--holes slam shut. You can hear it."
A middle child among eight siblings, Hartman moved to Southern California when he was 12 and spent most of adolescence surfing. After his final SNL on May 14, he will return to Encino full-time with his third wife, Brynn, 36, an actress who will work on The Phil Show, and their children, Sean, 5, and Birgen, 2. Sitting in a flannel shirt and nerdy glasses, flanked by the pool and barbecue, he says, "I've always had this notion that I was an anachronism. I always looked like a guy from the '40s." He removes his glasses, while Sinatra and Streisand go at it on the stereo. "I should've been a bomber pilot or something."
1996
Phil Hartman Chat Transcript
Q: Phil what is the meaning of life?
Phil Hartman: ...My personal philosophy is Eastern in its orientation I like to be surprised by what life sends my way. I wish to enjoy it with an appropriate attitude which, to my mind, is reverence and awe.
AOLiveMC2: Welcome, Phil, to AOL Live.
PhlHartman: Thanks. It's a pleasure to have the opportunity to go one on one with the great American people. So fire away...you crazy bastards!
AOLiveMC2: Here we go with the first question:
Question: Phil, do you have a favorite "voice/character" that you've done on "The Simpsons"? My favorite of yours would have to be "Troy McClure".
PhlHartman: Yeah. Troy McClure does it for me too. You may know him from movies like "Hitler doesn't live here anymore or "Sorry Wrong closet."
Question: What ever happened to "Chick Hazard"?
PhlHartman: I wrote a SCREENPLAY IN 1986 for universal. Using that chick hazard character at the time, I didn't have enough clout to get the movie made, my hope is, as my film career heats up, I will be able to launch the film sometime in the near future. I hope at least you'll go see it.
Question: Phil-You are very funny! Who is your favorite person on the set of "NewsRadio"
PhlHartman: If I had to pick one person who I'm most grateful to see everyday, it would be our producer, Paul Sims, he is 30 years old Tall....Blonde.... with enormous breasts.
Question: Phil, I especially have enjoyed your impersonation of Jack Kemp. It's so uncanny, that whenever I see or hear the "real" Mr. Kemp, it reminds me of you, and I laugh !!
PhlHartman: Thanks, I only did it that one time in an 88 debate sketch, never heard from Jack!
Question: What was your favorite performance?
PhlHartman: It would be hard to pick one. from my 8 years at SNL, but I know I especially enjoyed portraying Frank Sinatra, Bill Clinton, Frankenstein and Jesus.
Question: Hi there! I am a great fan of yours...just wanted to know if doing "Pee Wee's Playhouse" as Captain. Carl was early on? And what was it like to work on that project?
PhlHartman: My experience as Capt. Carl was very special to me, it was my 1st big success I met Paul Reubens at the Groundlings and we collaborated on a stage Play called The PeeWee Herman show. This was later updated to become PeeWee's playhouse. Paul is a unique artist. We all loved working with him.
Question: Phil, I love your Troy McLure bits on the Simpsons, any new ones coming up you can tell us about?
PhlHartman: Y'know, I have a few in the can, but the truth is I can't remember because I go into a recording studio I read the lines and leave, and 6 months later I see the finished show on TV Often, it's as big a surprise to me as it is to you.
Question: Mr. Hartman...you are such a funny man, what other sitcoms have you been on?
PhlHartman: Few. I did a guest shot on Empty Nest and several years ago I did an appearance on a show called Sarah, which starred Geena Davis, other than that Zip.
Question: Are you the guy in the McDonald's commercials?
PhlHartman: Yes. And I get free Filet o' Fishes for life, in fact I have 500 of them in the trunk of my car. You're welcome to have one However, they're starting to smell.
Question: When you were on Saturday Night Live was that the highest point of your career?
PhlHartman: I'll never forget the night Paul McCartney Appeared on the show, he was asked to do 3 songs at the very end of the show he played HEY JUDE, The song ended the audience gave him a Standing Ovation, we cut to the final commercial break, and when we came back from the break, the audience was still on it's feet cheering for Paul. I was so overwhelmed with emotion that as I stood on the stage with him; he came over to me and I took hold of his hand and kissed it. It was a totally unconscious expression of my great admiration for this supreme talent. But mind you, I had 20 overwhelming experiences doing that show.
Question: I understand you used to be a graphic artist. That's such an individual, or lonely job, while your comedy is a group activity. Did you find that transition difficult?
PhlHartman: In Truth, It was because of the lonely nature of my work as a graphic Designer(Spending several hours a day at the drawing board) That I decided to join an improvisational comedy group. I needed to express myself in a more extroverted way. As luck would have it, I had some aptitude for this comedy stuff and it led to a whole new career.
Question: My husband and I love your show, and love to talk with our friends about it. We all love "the patch" show! How much freedom are you allowed with the scripts? Do you find it more restrictive then SNL?
PhlHartman: Writing is the most important element in the world of TV. If the producers are giving me great scripts I make every effort to try to make what is on the page work. The relationship between writer and performer is symbiosis defined. However, if it's apparent that a joke is weak, Paul Sims throws it open to anyone to offer an alternative. So I do feel like I get to make a contribution in virtually every show.
Question: DO YOU THINK NEWS RADIO IS A HIT?
PhlHartman: In my mind, and this goes for everyone in our cast as well, we feel we are doing the best show on TV. We have the critics behind us, we have the network behind us, we are waiting for the general public to follow. Our show is rated in the Mid 20's in popularity right now....I want to see it in the top 5.
Question: What do you do in your spare time?
PhlHartman: I am passionate about my hobbies. I'm a sailor, I have a powerboat, I'm a pilot, a scubadiver I love CD ROM games, I love hiking and my greatest love is visiting Catalina Island, off the coast of LA. Also I have a 7 year old son and a 4 year old daughter. And we love to goof around at home. My wife is a sexual acrobat and that takes up most of my time.
Question: Phil we just got through hearing a bunch of slop from Ollie North what do ya think of that poor soul
PhlHartman: Not all marines are idiots, but some of them live up to that Boot Camp Epithet, "MAGGOT"
Question: Phil what is the meaning of life?
PhlHartman: The meaning of life is... Geez.... I had it for a second. One of my favorite quotes is: "The TAO That can be explained is not the TAO." I will say this, I feel that life is a gift and it is best enjoyed as such that is to say, the ego will try to control and manipulate your life, to acquire power, an important question is "What would you do with power if you had it? Would you use it for self aggrandizement?" My personal philosophy is Eastern in its orientation I like to be surprised by what life sends my way. I wish to enjoy it with an appropriate attitude which, to my mind, is reverence and awe.
Question: Phil, is it really true that you're a (gasp) Canadian? Or is it just some wacky rumor?
PhlHartman: I was born in Canada, Branford Ontario, this is also the hometown of Wayne Gretzky. So I'll never be the "King Of Branford"
Question: Do you have any new movies coming out? I have enjoyed every movie you've been in. You really can brighten up a drab day!
PhlHartman: Thanks. Sgt. Bilko opens march 29, I have the 3rd lead in the film with Steve Martin and Dan Aykroyd, It was a dream come true to work with these guys. I saw the movie last night... You're gonna love it!
Question: Who was your idol growing up?
PhlHartman: I loved Jackie Gleason and later I became a huge fan of Jonathan Winters. Both of these performers adopt a quality in their work that I try to adopt. it's what, in the improv days, we called commitment, the ability to give 100%. It's great to watch a performer who is totally immersed in character. and, mind you, it is the thrill of doing this that's the "Great Natural High " of my work. It is something like stepping into a dreamworld, and when the performance is over, awakening.
Question: Have you stayed in contact with many of the 'old SNL crew?
PhlHartman: Jon Lovitz and Dana Carvey are 2 of my closest friends. I also see Dennis Miller From time to time. Now that Dana is in NY and He's so busy, we've been out of touch. However a few days ago, I flew Jon Lovitz to Catalina Island for the 1st time. While we were coming home, he insisted we fly over his house....he wanted to see if he was home but you know what was scary?.....he was.
Question: If you were the producer of SNL, what style of comedy would you try to offer the public?
PhlHartman: It's not like the producer can control the comedy on that show, there is a pool of writing talent and these writers tend to produce what nature inspires them to produce. inspiration is like the rain, it's hard to direct it. You just show up at work and hope to get wet. Generally speaking, I feel SNL is at it's best when it comments on what is in the news that week. In fact that is what makes the show so special. Something can happen on Friday and it can be parodied on Saturday night.
Comment: Hi Phil, I'm a huge fan and would just like to tell you how much I enjoyed your work on SNL. I also watch NewsRadio religiously. Thanks for being so funny.
PhlHartman: Well, thank you EAPoe 666. 666? what is your religion anyway?
Question: Do you miss doing Saturday Night Live?
PhlHartman: I miss it very, very, very much. If SNL was done in LA I would never leave. I like NYC, But I LOVE LA. It's a better place for the hobbies I already expressed passion for. But, in truth, SNL could only be done in NY. Because New York City is the Epicenter of the American Culture. I'll be hosting the show on March 23 and I'm looking forward to it. Like a tiger looks forward to eating Siegfried and Roy.
Question: Phil, are you going to be a guest on Dana Carvey's new show?
PhlHartman: I have offered my services to my dear friend Dana. I was hoping it would be on my network so that I might be able to swing a job as a regular. Dana, to me, is "All that, and a bag of chips" Not only is he just a super guy but he has to be one of the top 3 funniest people on the planet. I'm the first two.
Question: Phil are you a baseball fan?
PhlHartman: Yes, I do like Baseball and I like all sports. But I'm not totally passionate about them like some. Growing up in CA, I was a surfer, surfers always look down on jocks because they were stupid enough to stay after school while we were at the beach. So I tend to be more compassionate about non-competitive sports, like sailing, Skiing,. Surfing, throwing a frisbee.
Question: What were some of the other characters you played on the Simpsons.
PhlHartman: Troy McClure and Lionel Hutz, are my 2 recurring ones. I've portrayed Charlton Heston a couple of times and various non-descriptor characters. But lately, It's been troy McClure and that's Jake with me.
Question: What was the show called where you played a crusty old sea captain?
PhlHartman: That was PeeWee's Playhouse. I always hoped that one day Paul Reubens and I could do a movie as Pee Wee and Captain Carl. I suspect this will never happen.
Question: Did you ever hear from Bill Clinton when you were imitating him on SNL?
PhlHartman: I met Bill Clinton in March of 1993, he was very warm and he claimed to be a fan. Later, he sent me an autographed photo with this quote; "To Phil Hartman, You're not the President But you play one on TV. and you're okay.......MOSTLY!.......Bill Clinton. He underlined the word 'MOSTLY" with a squiggly line, I think it was an indication that he felt that I sometimes stepped over the squiggly line. But nonetheless, I remain a supporter and a Fan of our President.
Question: Did you help write the McDonald's commercials? They're very funny!
PhlHartman: I contributed one idea to the McDonalds campaign. The commercials were written with the idea of Phil Hartman being the spokesperson, I suggested that we give the Character a name, Hugh Mcattick However, when the name is flashed on the screen, it says Huge Mac Attack. It's an inside joke, and now ...I had a ball working with these people.
Question: Does Capt. Carl still have a thing for Miss Yvonne?
PhlHartman: Ha ha ha, there is something about a gal who can carry an extra large can of Aqua-Net hair spray in her Brassiere with no apparent increase in bust size. Lynne Stewart, who played miss Yvonne, is one of my dearest friends.
Question: Phil, what's the worst experience you've had in the business. You know, when you've said to yourself `Yikes! What am I doing in this business ?'
PhlHartman: I'm sure several terrible things happened to me but I can't dwell on them, you gotta keep your eyes on the prize, Go for the brass ring, Climb the highest mountain....crap like that.
Question: Do you get tired of people expecting you to be funny all of the time?
PhlHartman: No, I don't. Because I'm not. I'm more like Steve Martin than Robin Williams. In real life if I met you socially, I think you would find me to be a regular guy and perhaps more modest than you might imagine, but believe me, It would make for a better time for you, because we could take turns being the Star of that encounter.
OnlineHost: All good things must come to an end. Time is up for this event.
AOLiveMC2: Phil, thanks for being such a delightful guest and taking our questions.
PhlHartman: Of course, I just wanna say thanks to everyone whose shown an interest in my work. lately, I've come to feel that actors are something like politicians, we are trying to get you to like us, we want you to vote for us with that remote control, or perhaps at the cinema box office, at the same time there is awareness that there's a clock ticking, that few careers last more than 5 10 years. It's like a term limit. So I guess what I'm saying is, I'm grateful for your votes I'm grateful for your time, it's my privilege and honor to divert you from the preoccupation's from your day to day life, to entertain you...thank you.
1996
Excerpts from an interview with Steve Martin, Dan Aykroyd and Phil Hartman
Patrick Stoner: When you guys invited me to play strip poker, I thought there were going to be women here.
Aykroyd: That wouldn't be any fun.
Hartman: No, it's the humiliation that makes it exciting.
Stoner: Listen, since I've got you all here, I was thinking... People often don't realize how much those of you in this business CARE about the history of it--the people who came before you, the work they did...
Aykroyd: That's right...
Hartman: Absolutely...
Martin: That's very right. If you had told me when I was 10 years old watching Phil Silvers on television that someday I would get to play Sgt. Bilko, I never would have believed you. It's like being part of history--comic history. I admired his timing so much--the way he controlled the scene and yet worked off of the supporting players so well. He made everyone look good around him, and they all fell into his cadence. I hope I captured SOME of that quality.
Stoner: ...part of comic history. Do you ever think about that--that you're now part of the history of film in the 20th century?
Hartman: I do. I was thinking about the new digital equipment. They'll be able to save everything. In 2050, people will just pull us up off of some disk or something, and we'll be just as fresh as we are right now on film. AND, they can go in and change us...
Martin: ...like in Forrest Gump, right, and morph us and take us apart and put us back together.
Aykroyd: And that's the bad news [laughter]. They'll be able to do without us altogether. They can just animate us, even after we're dead. Then, our grandchildren can fight over the rights to dear old dead grandpa's image.
Martin: There might not be any rights. In 50 years, it's all in the public domain anyhow. They could just take our digital images and create "Sgt. Bilko, the Ultimate Sequel."
Aykroyd: Not if the Artists' Rights Association wins the right to protect our work--to protect cultural and intellectual property.
Stoner: Comedy is serious business, isn't it? Big business from beyond the grave even, I see. Yet, what is it? What makes something comedic?
Martin: ...the real question, isn't it? We're all afraid to ask it, because we fear whatever's working now will stop.
Hartman: John Cleese once said that he used to think that comedy was watching something outrageous happen to somebody, but he then decided that what was really funny was watching someone WATCH something outrageous happen to someone.
Martin: That's good. He's right. You set up the bit; it goes down, and you cut to the person "doing a take." THAT person's reaction is funnier than the one on the receiving end of the action. AND, it's a cue to the audience that says, "this is funny," so it's like a conspiracy between the comic actor and the audience--a sort of wink that says "we get it!"
1996
Phil-osophy
"Jingle All the Way" star Phil Hartman talks about his accidental foray into comedy
By Christine James
[Sneak] What do Bill Clinton, Frank Sinatra, Ed McMahon and Franken-stein all have in common? No, not a passion for McDonald's cuisine, mob connections, an annoying sycophantic chortle or a severe aversion to fire. Their uniting bond is that they have all been portrayed--with eerie and hilarious uncanniness--by actor/comedian Phil Hartman.
Forty-seven-year-old Hartman was a graphic artist designing album covers before he decided to join the Groundlings comedy troupe in 1975 "just for fun"--and that's where he met Paul Reubens, aka Pee-wee Herman. Hartman played the crusty Kap'n Karl on TV's "Pee-wee's Playhouse," and co-scripted the wacky 1985 hit feature film "Pee-wee's Big Adventure." A year later, Hartman got his first big break as an actor when he joined the cast of TV's "Saturday Night Live."
One of the top talents to emerge from "SNL," Hartman was well-served by the sketch comedy format that allowed him to demonstrate his vast repertoire of characters. Hartman, who left "SNL" in 1994, currently stars as self-important radio personality Bill McNeal on TV's much-lauded "NewsRadio"; does recurring guest voice work on "The Simpsons"; and has recently had lead roles in hit films like "Sgt. Bilko" and "Houseguest."
While he has proven he can play a wide array of personality types, he most often gets cast as the sardonic, smug egomaniac. But he doesn't feel constrained by the popularity of that persona.
"I'd be happy to play idiots and wankers the rest of my life," he asserts. "I think I have an unnatural objectivity about my career that many actors don't have, because after all, I got into this business almost by accident. I majored in art and graphic design in college; I worked designing mainly album covers through most of the '70s and early '80s [for bands like Poco, America and Crosby, Stills & Nash]. And I was moderately successful. The only problem was I was working by myself a lot, many long hours at a drawing board with not a lot of social interaction. And so when I saw the Groundlings improv group in 1975, I thought, `I gotta do that! I just know I can!' But the whole thrust of why I was doing it was just for my own entertainment. Suppose you decided you wanted to take an acting class for the fun of it, and then, a few years later, there you are, co-starring with the biggest boxoffice star in the world!" he says, laughing. "It's pretty much like that."
Hartman is referring to his role in "Jingle All the Way," the comedy due out this November in which he stars with Arnold Schwarzenegger. Definitely not bad for someone doing this "just for fun." And Schwarzenegger isn't the only boxoffice behemoth involved: produced [Image] by Chris Columbus (director of "Home Alone") and helmed by Brian Levant ("The Flintstones"), this film is primed to "Jingle" all the way to the bank. The story centers on a workaholic father, Harold (Schwarzenegger), who has promised his son a TurboMan action figure for Christmas. But come Christmas Eve, Harold still hasn't bought the toy, and must embark on a harrowing quest to find the hottest gift during the busiest shopping season of the year. And he has two nemeses serving to further thwart him: Sinbad ("Houseguest") plays a rival father who's on the same mission to find the elusive TurboMan for his son; and Hartman is Harold's smarmy neighbor who's always needling him.
"I'm just a thorn in his side that makes his life all the more uncomfortable. I play his next-door neighbor, Ted Maltin. And Ted is a guy who has retired early because he sued his company because he got migraine headaches from toner fumes," Hartman laughs. "So it was just a really frivolous lawsuit that allows this guy to kick back and enjoy suburban life. But what he does is he helps the women in the neighborhood, and therein is a dangerous scenario. When husbands call home to check on things, Ted answers the phone. So all the husbands hate him and all the wives think he's just so wonderful. "It's almost like I'm the anti-Arnold. You know, he's strong and masculine and macho, and I'm kind of sensitive, almost fey, kind of woozily self-absorbed, and you can tell I just don't have too great an opinion of him. Because I'm sarcastic with him, and I tease him, and you just want Arnold to put his fist through my skull."
Hartman isn't seeking the Arnold/hero/leading man roles; he tends to find the villainous parts the most fun to play.
"[Straight roles] just aren't as satisfying to me. It's not as funny. It's so fun to play a character that's duplicitous, that has this whole hidden agenda. It just automatically gives it a kind of depth. "My main goal is to be funny and to make people laugh. It's a nice thing to bring laughter to people. Last night we were out to dinner, and a young girl came up to me with her brother and her dad and said, `Can I have my picture taken with you?' My wife and I had our picture taken with this girl, and she said, `Can I hug you?' That was so sweet! I guess it's the nature of art, that you get to touch people in an emotional way. And of course, the other side is you always get to be humbled and meet people who've never heard of you. I met one of the biggest producers in Hollywood at a party recently, Arnold Kopelson ["Eraser"], and I was introduced to him, and he said `What do you do?' I was like, `Not much.'"
Despite the occasional snubbing by Hollywood bigwigs, Hartman is very happy where he is. "I've got a beautiful wife and two gorgeous kids and success beyond my wildest dreams. As somebody who at heart was a graphic designer, I've done pretty well."
March 30, 1996
Ham Radio
By Daniel Howard Cerone
A genuine workplace moment is playing itself out behind the scenes of NewsRadio, the NBC comedy that strip-mines office minutiae for laughs on Sundays at 8:30 PM/ET. Creator and executive producer Paul Simms has just walked onto the soundstage bearing a box filled with gifts for his cast members, who are seated in a circle like comedy knights of the round table for the first read-through of the next week's script.
"We just reached 25 episodes," says Simms, a former executive producer on HBO's The Larry Sanders Show, who believes that life is what happens while you're at work. To commemorate the milestone, "I have a gift for everyone," he says. All heads turn toward him with great anticipation. Simms reaches into the box and produces... personalized NewsRadio notepads. The cast response is not unlike the episode in which the clueless station owner, played by Stephen Root, gives his hirelings personalized baseball caps for Christmas.
"Oh wow... little white papers," says Dave Foley, the news director of the fictional WNYX in New York. "Why does mine say Maura?"
"Give that to me," says Maura Tierney, who plays a news writer as well as Foley's love interest on the show.
"Big bookmarks. Cool," says Root, trying to generate some enthusiasm. "I'm going to have to send one to my mom."
Khandi Alexander, WNYX's on-air reporter, turns to Phil Hartman and asks, "Can I have some of your notepads?"
"Why, so you can send forged messages?" he asks in his deepest anchor voice. "I don't think so."
Employee niggling and piddling -- though usually scripted and filmed -- lies at the heart of NewsRadio, now in its second season. That's because Simms, 30, has lived the bulk of his adult life in an office space, he says, beginning when he worked on The Harvard Lampoon while in college. From there he went on to Spy magazine, NBC's Late Night with David Letterman, and Larry Sanders before creating NewsRadio last year.
Now that he's the boss, he encourages his employees to goof off. "That's one big thing I learned from Garry Shandling, working on The Larry Sanders Show," Simms says. "During rehearsal time, give the actors freedom. Encourage as much input and improvisation as possible. Because that's really what made Larry Sanders what it was, the input from the individual actors. As good as the writing was, the funniest stuff came from the actors."
Aiming for the same creative environment, Simms stacked his deck with improvisational actors and comics. He wrote roles specifically for Foley (from the Canadian comedy troupe Kids in the Hall), Hartman (a regular on Saturday Night Live and the voice of such characters as sleazy lawyer Lionel Hutz on The Simpsons), and Andy Dick (The Ben Stiller Show). Ironically, none was available when the script was being cast, but somehow they got out of their commitments.
"Better that I should be the supporting player on a hit show that's brilliantly written than be the star of some disaster," says Hartman, 47, who was developing a prime-time sketch series for NBC until he realized the marketplace wasn't receptive to the idea.
Dick, 29, was signed to star as Don Adams' son in Fox's resuscitated Get Smart series but went ahead and shot the NewsRadio pilot anyway, playing a hypersensitive street reporter. After Get Smart premiered, Dick began telling reporters that he liked NewsRadio better. "I do feel responsible for the death of Get Smart in a way," he says. "It was my attitude. I wouldn't take that attitude again, because supposedly it's illegal to say anything bad about a show that you're on. It's in the fine print."
Foley, meanwhile, was hired for a CBS pilot called Mr. Fuller -- set in an elementary school -- just 24 hours before Simms offered him NewsRadio. "I called to see if I could get out of Mr. Fuller, and I couldn't," says Foley, who has a Kids in the Hall movie called "Brain Candy" set to open April 12. "But then a couple days into casting the supporting cast, I got fired." Was he acting up to be released? "No, I was trying hard to do a good job, but they really hated me," he says with an innocent smile.
That's not the feeling at NewsRadio. "Dave is often the point person on the set," says Tierney, who starred in the short-lived Norman Lear series 704 Hauser in 1991. "Because people will go, 'Dave, on page seven, can you think of a better line than this?' And almost always he does it."
"I'm the Morey Amsterdam of my generation," says Foley, referring to the actor who played a gag writer on The Dick Van Dyke Show. "I'm a human joke machine. You can't turn me off." An example of Foley's ad-libbing comes during their read-through. In the middle of an argument, Tierney's character, Lisa, tells him: "I didn't call you Stewart in bed. I called you stalwart." Not content to end it there, Foley gives his character, Dave, a quick comeback: "Well, you were always a very noble lover yourself."
As usual, Simms decides to keep the line. "That's one of the greatest things about the show, you really feel like you're a part of the creative process," says Joe Rogan, who plays the station's streetwise electrician. And it's why Rogan -- a comic who starred in the Fox baseball sitcom Hardball -- chose to be part of the NewsRadio ensemble over doing his own show at NBC, where he had a development deal.
The credit goes to Simms, who actors have scrambled to work for ever since his success with the hip Larry Sanders. Thanks to the relaxed atmosphere he creates at NewsRadio, observing the cast at work is like watching sixth graders during free time. When Tierney walks onto the set for rehearsal a few days after the read-through, the cast and crew break into applause. She has had the ignominious privilege of becoming the first member of the NewsRadio cast to grace the pages of a tabloid magazine.
A crew member holds up the tab, which features fuzzy photos of George Clooney on a date with a brunette. Tierney's name is in the caption. The headline reads: "ER LOVE DOC STRIKES AGAIN." "That's not me," complains Tierney, who has a role in the Richard Gere thriller "Primal Fear." "That doesn't even look like me. You can never believe those things anyway, but that's so wacky. I don't know George Clooney."
While the cast has its kicks on the set (and off the set, when they all go out for drinks after filming), the writers might be another story. During the read-through, they look as if they had not seen sunshine for days -- and perhaps they hadn't. Simms has been known to call the writers to his home on Thursday evening, then work through the night until the run-through for network executives on Friday afternoon. It may not come as a surprise that NewsRadio has lost numerous writers.
"Oh god, the rumors about what it's like to work for me are nuts," Simms says. "I think every other writer in the TV business thinks I'm some kind of tyrant. But it's not true. I'm nocturnal, and I've hired a writing staff that's primarily nocturnal, too. Fortunately, I've managed to become a boss at an age when I can still remember what I hated about being an employee. I hated coming in at a specific time. I hated the notion of putting in face time or doing busy work. That probably makes the office more chaotic, but there are things everyone has to go through being an employee that I don't want to put up with."
Audiences, at least, are responding to the workplace Simms has created. NewsRadio has been gaining momentum ever since it premiered quietly in the middle of last season. "We liken it to Seinfeld in the beginning, which had a rocky start as a replacement series, then became a low-rated show, and then a hit," says Steven McPherson, vice president of prime-time series for NBC. "Hopefully, we're in the same neighborhood here."
As the rehearsal progresses, cast member Vicki Lewis -- an accomplished stage actress, perhaps best known on TV as Jason Alexander's amorous secretary on Seinfeld -- barges into a hotel room pushing a dinner cart. Tierney is playing poker to win back the pompous news anchor played by Hartman, whose contract the station owner lost in a card game with one of his radio cronies.
But Lewis, WNYX's secretary, can't remember her line. So she looks at Tierney and blurts out: "Hey, aren't you George Clooney's gal?"
"Yes, and I'm having an affair with Noah Wyle," Foley chips in from off-stage. Tierney manages to keep her poker face -- but only for about five seconds.
September 29, 1997
Reel to Real: Phil Hartman
FANTLE: Sorry for keeping you waiting Phil. He's starting to look peeved, but then he looks that way in most of his movies. We're here at the Sunset-Gower Studios in Hollywood, home of the NBC Tuesday night sitcom "NewsRadio". We're in Phil's dressing room on the second floor of Stage 9. Take it away Tom.
JOHNSON: Thanks for being with us Phil on our inaugural program. You seem to work at a torrid pace. When you're not on "NewsRadio", we see you guesting on talk shows or doing TV commercials. What gives?
HARTMAN: I'm 49-years-old and I'm cautious of the fact that very few people in comedy have careers after age 50. I think there's a notion in our society, and it may be valid, that people aren't as funny when they get older. It's a stigma still attached to the rebelliousness of youth. I do believe that sooner or later I'll get those great roles like Gary Sinise's part in "Forrest Gump" or Tommy Lee Jones' as "Two Face" in "Batman Forever".
JOHNSON: "NewsRadio" has received such glowing reviews, but from a ratings standpoint, it's not delivering stellar numbers. Why so?
HARTMAN: Yes, we have fallen off as far as the ratings go. We do talk - sometimes jokingly - about our standings in the ratings, but here's the deal. Last season we were up against Brett Butler. Our show is popular in the major markets, but all those trailer parks across America were tuning in to the "Hillbilly bride".
FANTLE: Well she's not a factor anymore. Did the shift to Tuesday nights bother you?
HARTMAN: Where they put our show in the schedule is something for the generals to decide. Let the generals run the war. We'll go out and take one pillbox at a time. That's our job - go out, do good shows and make people laugh. That's all we can do.
FANTLE: Does cancellation concern you?
HARTMAN: We feel with zero objectivity that we have one of the best shows on television. If this show gets cancelled, I'm OK with that. If it goes on for five years, I'm OK with that, too. If this ends it frees me up to do something else. The truth is I'm making three times the money in movies that I make here. It's not a big problem.
JOHNSON: Good seque. We've all heard about how the "Seinfeld" cast members received huge salary increases to come back this season - salaries that could float the debt of some small countries. Just how hard is working in this sitcom business?
HARTMAN: It's tougher than a week of trout fishing, but doing a sitcom is not as tough as what the average person does out there in the job market everyday. We have the show down to about a 35-hour week. They treat us right. They feed us. The checks clear.
FANTLE: You're probably one the most recognized character actors working today. Does that term, character actor, bother you?
HARTMAN: I have no illusions about my stature in show business. I'm kind of at an intermediate level of celebrity where pretty much everybody knows who I am, but I haven't had the big breakout role that will take me to the next level. Sooner or later it will happen. I have offers that come in now that are very enticing, but I have to turn them down because of my commitment to "NewsRadio".
JOHNSON: Speaking of roles, what it was like to work with "Ah-Nuld" in "Jingle All the Way"?
HARTMAN: Arnold actually kept the humiliation to a minimum. He's really a great guy, and he didn't make too many cracks about how out of shape I was. We didn't become best friends, but I did have lunch with him a couple of times and we shared a few cigars.
FANTLE: I've heard that the atmosphere on a Schwarzenegger can be pretty raucous. Is that true?
HARTMAN: The atmosphere he creates has, like, an athletic parallel. He's like a team captain. During the course of this project, I really felt like I was part of Arnold's team. When you work on a Schwarzenegger project, it's very clear that it's his movie. Not just because of his stature in the business, he brings a lot of people into the equation. The whole makeup department, hair department, stunt department, are hand-picked people that he's comfortable with, and has worked with before. This is something all big stars do.
JOHNSON: Enough about Arnold. Do you have a favorite movie role to date?
HARTMAN: "Greedy" remains my favorite role to date, even though the film didn't do any business. I had some great lines in it like, "I don't like the Beatles and I don't like you". That was fun. If I could do roles like that, I'd be thrilled.
FANTLE: Do you feel the pressure to deliver big box office grosses?
HARTMAN: The great thing about being the third guy in a film instead of the top-billed star is that nobody blames you if the film doesn't make it. It's always the star that takes the hit because it's perceived to be his or her bomb.
FANTLE: You were born in Brantford, Ontario, Canada. A lot of funny people have come from Canada, such as John Candy and Jim Carrey.
FANTLE: What makes Canadians so funny?
HARTMAN: I think it has something to do with the fact that comedians are observers of life. Canadians are sort of observers of America, but not part of it. There is something in that that gives us a funny objectivity.
JOHNSON: You are one of eight children. Did you have to compete for table scraps during meal time?
HARTMAN: I grew up in a middle class family that struggled to make ends meet. It's like one of the big problems I have with my weight - I'm 20 pounds overweight and I've been that way for about 10 years. I beat it down from time to time, but my biggest problem is the food scene at a TV show. Hot dogs, donuts . . . bring in the pizza and the fried chicken. I came from a family where you needed a fork in your hand to reach for some food.
FANTLE: I'm not quite sure how we got from growing up with eight children, to the food on the set, but have the trappings of success changed you significantly?
HARTMAN: No. People think, oh gee, if I was only rich, everything would be perfect. I had another career before I became an actor. I had a job in the real world as a graphic designer. I struggled and fell behind in my mortgage. I empathize with what people have to do to make ends meet.
JOHNSON: Do you worry at all about money anymore?
HARTMAN: No, I don't worry about money anymore. I have a nice cushion. With the realization that the balloon could one day burst, I could conceivably live off of what I've invested right now and go on to oil painting, which was my original ambition.
FANTLE: You really made your mark as a utility player during eight years on "Saturday Night Live". Was it hard for you to see Mike Myers and Dana Carvey really skyrocket with "Wayne's World"?
HARTMAN: There was a time about four years ago when I became depressed because I was being left in the dust by some of my contemporaries. I watched other people take off beside me like Mike and Dana. As soon as I realized that I was doing OK, I snapped out of it because I'm too smart and too centered to allow myself to be derailed by something as delusional as comparing myself with others.
JOHNSON: Regarding, "SNL", did it provide more of an improvisational environment than "NewsRadio"?
HARTMAN: "SNL" is not as improvisational as you may think. As a writer on the show, it's extremely competitive to get your material on the air. But it's a heavy elixir to know that you could write something on a Tuesday and 10 million people will see it on Saturday night.
FANTLE: Generically speaking, what made a sketch successful for you on the show?
HARTMAN: It was really a matter of hitting all the jokes. A joke can be blown in a thousand ways. If you can milk every joke, that's something the writers will talk about. I remember so many times when a sketch would score and you'd walk off and the first person to greet you with a hug, high-five or whatever, would be the writer. I was very conscious of the collaboration. And in this business, the power goes to the writer.
JOHNSON: We have to ask you about Bill Clinton. Have you ever received feedback from President Clinton for your impressions of him?
HARTMAN: I've met him and he's a charming guy, very charismatic, very smart. He can somehow shake your hand and spend five minutes with you and make you feel like you've connected. My wife and I spoke with him for maybe two minutes. He said he got a kick out of what we did on "SNL" and during the campaign they used to watch the tapes.
FANTLE: I know George Bush used to invite Dana Carvey to the White House. Has Clinton ever extended an invitation to you to sleep in the Lincoln bedroom?
HARTMAN: There have been a few instances where I've been invited to perform at the White House and staffers have killed it. I was invited to perform for the Royal Family and the White House killed it. They don't like it. Dana was different because he was just doing silliness when he did Bush. The political satire that is done on "SNL", "The Tonight Show", Letterman, verges more on personal attacks - the womanizing, Ted Kennedy's drinking, junk food addiction. Those are things that are hammered at again and again and again. It's not discussing issues or policies, it's going after personal stuff, and that can be hurtful.
JOHNSON: Can you tell us about your appearance on that other talk show?
HARTMAN: I did "The Larry King Show" and they were going to try to get the president to call in. He was too busy, but did send an autographed photo with the inscription: "To Phil Hartman, you're not the President, but you play one on TV and you're OK - mostly". I really interpret it to say, "you're all right, but I definitely have my eye on you because you cross the line". Yes I do cross the line. God, if somebody was out there doing jokes about me, I wouldn't be inviting him to stay in the Lincoln bedroom!
JOHNSON: Have you received any hate mail as a result of your dead-on impersonation of Clinton?
HARTMAN: When I was on "SNL" I received some hate mail. Some of it was really disconcerting - really scary militia kind of stuff. I got a few I kind of kept for the FBI. I think if you're a leading lady, or a rock star or a sex symbol, you can attract people at a much more primitive level. Whereas comedy appeals to the intellect. So the kind of people I run into on the street are usually smart and college-educated. If they're fans, they'll say, "you really make me laugh". That just warms my heart. That's my goal.
FANTLE: Since you have Clinton mastered, it's only natural that earlier this year you played the President in a HBO movie, "The Second Civil War". Tell us what this was like?
HARTMAN: The movie was directed by Joe Dante and it was really cool. It was a gesture toward the political satire that "Dr. Strangelove" did, only it was not quite that broad. It depicted a time in the not-too-distant future when the Federal government has become so liberal with its immigration policies that our country has literally become inundated with foreigners - whole states have become taken over. While it was a black comedy, it had a very disconcerting ending.
JOHNSON: Your role as the President drew more than a few parallels to the current occupant of the White House?
HARTMAN: I played a president who's all blarney and has the gift of gab. James Coburn played a Dick Morris kind of public relations guy who literally made me president. I think this project was the most incisive satire of what is happening in politics today.
FANTLE: You appear to be a really grounded guy. Can you tell us a little bit about the private Phil Hartman? You're married, and you have two young children, a boy and a girl?
HARTMAN: Yes. The one thing I wanted to mention is that even with monetary success, you can't buy time, and time is priceless. Jay Leno can't take a vacation. He's not comfortable with it. Work is his passion. I have hobbies that I'm crazy about.
JOHNSON: Such as?
HARTMAN: Flying my own plane, sailing, snorkeling and hiking.
JOHNSON: How long have you been flying?
HARTMAN: Just a couple of years. I'm a recreational pilot. I like to go up for an hour and practice landings. It's a superb diversion that gives one a sense of competence and skill. It's a way to get away from it all because it's completely absorbing. My interest in flying is really an outgrowth of my interest in boating. Nine out of ten times I fly to Catalina Island. It's my favorite getaway. It's this little piece of land 25 miles off the coast. You just can't believe how beautiful it is.
FANTLE: What other activities do you pursue with your family?
HARTMAN: My son is nine, so I toss the ball around with him, ride bikes. I'm a water bug and that's part of our lifestyle. Right now they're at the stage where I do what they want to do. I want to get them to a point where they do what I want to do, which is to go to Catalina.
JOHNSON: Are most of your friends people in the business?
HARTMAN: Some. I have some old friends who have seen me through this whole ride. I love the company of comedians and actors. Jon Lovitz, Dana Carvey and Kevin Pollack are three of my dearest friends.
JOHNSON: Some actors aren't comfortable talking to the media or promoting their own projects. What makes you different?
HARTMAN: Movies are sold on television and through the press. The best actor in the world does not guarantee financial success. When my agents sell me to a potential producer, they tell them that Phil's got Letterman, Phil's got Leno and there's strong relationships there. I'll go out and sell the project. I'm marketing my product, and it is a product. It's a competitive marketplace and sales are very important. I'm the son of a salesman. My dad sold roofing supplies and wrought iron and building materials. My willingness to sell the product could tip the scale in my favor if a producer has to decide between me and actor B.
FANTLE: What kind of roles are you looking for in the future?
HARTMAN: I'm looking for roles that allow me to do what I do best. I think that involves creating a character that is distinct from myself. I see myself as a character/comedian. I've proven that I can be funny and captivating when I'm enraged and being insulted, or nasty and mean. I really feel that I would rather play villain roles than repeat a part like I had in "Houseguest", which was colorless. Anybody could have done that. I'd rather create a character by putting on a mask.
FANTLE: As you look at other actors, who would you like to pattern your career after?
HARTMAN: I don't want to be Jim Carrey. I want to be Gene Hackman. I want to be someone who will always bring quality to a project. I recognize myself in the "everyman" type of role - not glamorous. That's OK because the average guy is going to identify with me because I always identify with Gene Hackman. I like the kind of work that is understated and natural, not too broad or too pushed.
JOHNSON: All of which brings us to a dream project you'd like to bring to the screen, a feature film version of "The Three Stooges", recast with new actors portraying the Stooges.
FANTLE: Phil, which of the three do you see yourself playing?
HARTMAN: I'd be Moe. My dream casting would be Jon Lovitz as Larry, and Chris Farley as Curly.
FANTLE: Phil, I can just picture you in that bowl cut.
FANTLE: In our politically correct world, what would attract you to such a politically dicey concept such as "The Three Stooges"?
HARTMAN: I do ask myself, is there any merit to this project at all? First, you're right, for the 90s, the Stooges are so politically incorrect. What's redeeming about this project is that those numbskulls never held a grudge. They expressed their hostility by beating each other silly and then moved on. Emotions were always expressed and then cleared like an Etch-a-Sketch.
FANTLE: We're getting close to the end of our time - and probably Phil's patience - on "Reel to Real" on Hollywood Online. Thanks to Phil for spending the time with us.
April 1998
The Importance of Voices & Toys
By Bonnie Churchill
Phil Hartman keeps us laughing as egotistical anchorman Bill McNeal on the NBC hit comedy series "NewsRadio." Before that, for seven seasons, he led the pack on "Saturday Night Live," amazing us with his send-ups on everyone from Clinton to Gorbachev.
In real life, he's more surprising. "If I write a book," he confided, "I should call it 'Boys & Their Toys.' Airplanes, boats, sports cars, motorcycles -- I have them, I know how to use them, I enjoy them, but I'm still embarrassed at my almost adolescent indulgence!"
Hartman admitted that he pilots his own twin-engine jet, captains both a sailboat and a powerboat, rides a Harley motorcycle and drives a sports car dripping with "extras."
"I came from a modest background, a large middle-class family of eight kids. My folks had to pull minor miracles each week to make ends meet," he explained. "Now that my career is doing well, I've pursued all the things I'm passionate about.
"I have strong feelings and opinions about different kinds of cars, motorcycles... I've just bought my first American-made bike, also two boats, scuba diving gear, golf clubs and skis. I didn't just lose my head," he assured, "I did exhaustive research before I zeroed in on my choices and purchases."
Hartman acknowledged that men can really get caught up in the joy of owning "things." But, he added, "Learning to fly, sail and bike opens you up to people you'd never otherwise meet. It's not self-indulgent if the whole family takes part."
So Hartman talks with marathon runners, scuba divers who describe the world under the sea, fishermen telling about the one that didn't get away, macho bikers, tractor-pull participants. You name it, and Hartman either has been there, done that or has two or three pals who have.
Hartman, his wife and two children are a close-knit family and enjoy their togetherness. Last summer, he turned down movie offers so he could be with his kids. "We rented a house at the beach. My son and I got buzz cuts, we all got tans and had a ball."
Along the way the actor learned how to follow a dream. He was settled in a career as a graphic artist, and his bachelor life was spent designing record covers. Then one weekend, he decided he needed to expand his world and meet more people.
"I didn't want to wake up at 60 and discover that life had passed me by, and I was still doing the same thing," he said. "What's the good of having big dreams if you're afraid to see where they lead?"
That same weekend he heard about an up-and-coming theater company in Los Angeles called the Groundlings. It proved to be the turning point in his professional life.
"I joined to meet people -- for actors seem to have so much fun," he remembered.
Initially, Hartman was the one always dressing the stage or cleaning up -- until he let loose and did a few "office party" impersonations."
When the cast members saw how good he was, they gradually pulled him into their inner circle and onto the stage. During that time, he became great pals with another cast member, Paul Reubens, who would become Pee-Wee Herman. Hartman co-wrote Reubens' first film hit, "Pee-Wee's Big Adventure."
"Saturday Night Live," which has scooped up comedic talent like a power vac over the years, saw Hartman and signed him for one season. That grew into seven years, and in New York for the long-running series, he developed a hilarious repertoire of impressions: Frank Sinatra, President Clinton, Jack Nicholson, Phil Donahue, Ronald Reagan, Ted Kennedy, even the Rev. Jimmy Swaggart.
"Everyone assumes all my voices come from appearing on radio, Broadway or nightclubs," Hartman said. "I've never done any of the above. I never did stand-up. I prefer doing sketches. Jay Leno and I have a casual agreement, and every month or so I'll appear in a sketch on his show.
And of course, he uses his voice talents for his current steady gig. "When I became Bill McNeal on 'NewsRadio,' I tried to give the anchor a typical stiff delivery," he explained. "But when I'm trying to manipulate others in the cast, I like him to be butter-smooth."
Hartman's 50 or so voices and impressions have resulted in a rich career in voice-overs for commercials. He also supplies voices for a number of characters in the animated TV series "The Simpsons."
At the time of this interview, Hartman was dubbing a Japanese animated film, "Kiki's Delivery Service" (made in association with Disney), into English. "I'm the voice of Gigi, a black cat, who helps the good witch, Kiki, with her delivery service," he said. "She doesn't ride a bike, but a flying broom. No, my 'toys' don't include that, yet."
Is there anybody or anything Hartman can't capture vocally? "The one person I admire, but can't impersonate, is Johnny Carson. It's funny, but on 'Saturday Night Live,' Dana Carvey did many voices, but never the same ones I did. Any wonder we wound up such great friends?"
Has Hartman ever used one of his voices away from the camera? His eyebrows shot up. "You mean to suggest I'd use Jack Nicholson's voice to get a reservation at Spago's on a Saturday night?" he responded.
Well, his wife admitted that her husband does have a knack for extricating tension from a romantic moment. He simply adopts the crackly voice of Walter Brennan, and gets her laughing.
With all of Phil Hartman's voices and toys, he manages to stay centered. Growing serious, he confided, "The heart of my philosophy is an attitude of gratitude. I wake up in the morning thinking how much I'm blessed. If you ever have trouble going to sleep, start counting the good things in life."
Phil Hartman meant what he was saying -- he even used his own voice.
May 28, 1998
Phil Hartman
By Laura Smith Kay
With his deep, smarmy delivery and glad-handing schtick, comic actor Phil Hartman seemed born to play his famous huckster characters -- from straight-on SNL impersonations of Bill Clinton and Ed McMahon to realer-than-real fictions like The Simpsons' attorney Lionel Hutz and has-been-actor Troy McClure to NewsRadio's old-fashioned jerk, Bill McNeal. But where some might bridle at being grand marshal of what he dubbed the "weasel parade," Hartman loved his job. "I love to do this sort of thing, " he told the Minneapolis Star Tribune in 1996. "I just want to be funny."
Hartman wasn't always playing for laughs. Born in Ontario in 1948, Hartman grew up the middle of eight children of Rupert, a building supplies salesman, and Doris, a homemaker, in Connecticut and Southern California. "I was a loner," Hartman told PEOPLE of his childhood. "I surfed." Though voted Class Clown at LA's Westchester high school in 1966, Hartman opted to pursue a college degree and career in graphic design. In the '70s, he designed album covers for groups like America and Crosby, Stills & Nash.
In 1975, for "psychological release," Hartman joined the Groundlings, an improv comedy troupe in LA. There, he met Paul Reubens, with whom he wrote Reubens' star vehicle, Pee-Wee's Big Adventure. In 1986, Hartman became a regular on both Pee-Wee's Playhouse (as Kap'n Karl) and on Saturday Night Live (playing everyone from Barbara Bush to Frank Sinatra). "I'm Mr. Potato Head" Hartman told PEOPLE of his broad range of imitations.
SNL was Hartman's big break, but his eight-year-stint on the show was a mixed blessing. Although Hartman created (or imitated) more than 70 characters, he labored in (relative) obscurity until Bill Clinton finally put him on the map -- and the cover of TV Guide. "I was emotionally stressed the whole time," he told PEOPLE after leaving the show in 1994. "The rejection and backstabbing could be painful, but the hardest thing was competing against your friends for airtime." Nonetheless, Hartman made enduring friends of colleagues like Jon Lovitz and Dana Carvey, with whom he shared one of his many hobbies -- informal jam sessions. Hartman also surfed with Tom Hanks and Woody Harrelson and pursued other passions -- like golfing, sailing and flying -- less famously.
One of the reasons Hartman left SNL was to spend more time with his family -- his wife Brynn, a former model he had wed in 1987, and what he called "the most important thing in my life," their children Sean and Birgen. "It's very good for a family," he said of their four-bedroom home in secure, if not flashy, Encino. Hartman had been married twice before.
Although Hartman's potato-headed flexibility may have prevented him from becoming a leading star in his own right, it didn't hold him back from steady work. In the '90s, he voiced a variety of characters for The Simpsons, appeared in feature films like Houseguest and, starting in 1995, won rave reviews (The New York Times said Hartman "steals the show") and varying ratings for his puffed-up newsman in the sitcom NewsRadio. "Because I came into [performing] so late, after working in the corporate world of advertising and graphic design, I know how hard the average person works, because I've been there," Hartman said in 1995. "I've succeeded beyond my wildest dreams -- financially and the amount of fun I have in my life."
James L. Brooks,. co-creator and executive producer of "The Simpsons," had warm memories of his late colleague. "Everybody that has been in comedy for any length of time had huge respect for Hartman. He was a comedy professional for so long," Brooks told PEOPLE. "He was always a comedy stalwart. Just like somebody does skiing in life, he went around doing comedy and everyone respected him for it.
"He sure did get a lot of laughs at "The Simpsons" table readings, boy."
May 28, 1998
Phil Hartman's Lasting Impression
He was in a different league than the rest of the comic actors on "Saturday Night Live." When you think of the characters that inhabited that show over the years, you remember that Gilda Radner was Roseanne Rosannadanna, Jon Lovitz was Tommy Flanagan, John Belushi was the Samurai, Nora Dunn was Pat Stevens, Eddie Murphy was Mr. Robinson, and Chevy Chase was Chevy Chase.
Phil Hartman won't be remembered for a single character he created on the show. His idiotic and overrated Unfrozen Caveman Lawyer is as forgettable as the entire 1980 cast of SNL.
However, Hartman will be remembered as, by far, the best impressionist the show ever had. Sure, Aykroyd did a good Tom Snyder. Yes, Dana Carvey did the definitive George Bush and Ross Perot. Of course, Billy Crystal had Sammy Davis Jr. down pat. But in watching Aykroyd or Carvey or Crystal, their impressions were just transparent enough to guarantee that you saw their own personalities as part of the people they impersonated.
Not so with Hartman. He really was Bill Clinton at McDonald's. He captured Donahue's ego and persona perfectly. His Johnny Cash was right on the money. He became Ed McMahon when he belted out, "You are correct, sir!!" In nearly every instance, his was the definitive impression.
No one has ever done a better Sinatra, not even Paul Anka. Joe Piscopo had been the leader in the Sinatra imitator field, but his was too passionate a tribute to Frank. When Hartman started doing his bitter, worn down by the years, chip on his shoulder version of Sinatra, he didn't just find a new angle on the man, he also left poor Piscopo in the dust (where he still languishes, by the way). I recall falling off the chair laughing while watching the "McLaughlin Group" sendup with Phil/Frank asking a question of panelist Sinead O'Connor (Jan Hooks in a bald cap), and calling her "Sign-aid" and "Cueball." Merciless and hysterical.
I was never a "NewsRadio" fan, and don't think that's where Phil did his best work. His talent was also wasted in movie trash like "Greedy" with Michael J. Fox, "Jingle All The Way" with Arnold Schwarzenegger, and "Sgt. Bilko" with Steve Martin (the latter was incredibly bad, and didn't even take advantage of the fact that Hartman did an amazing Phil Silvers!). His best work was undeniably on "SNL" and also on "The Simpsons," where he was a great utility voice. In particular, his unctuous Troy McClure character was a riot.
Until his death, I didn't know much about his pre-"SNL" days, except that he was part of the legendary Groundlings improvisational troupe in Los Angeles. It was there that he met Paul Reubens, with whom he wrote "Pee Wee's Big Adventure." Before doing comedy, he had been a graphic designer, working on album covers like Poco's "Legend." He also created the logo for Crosby Stills & Nash, among others. I'll bet that with a visual mind like that, he could actually picture the people he was imitating, which probably facilitated his ability to become them.
In any interview, Hartman was a money-in-the-bank guest. He was always inevitably persuaded to do an impression or two. When he did, he would slip in and out of them seamlessly, sometimes changing from one voice to another at a moment's notice. It was that natural feeling that made his work so appealing. It never seemed forced; it never had a "hey, look at what I can do" quality.
That ability to subvert his own personality within his impressions kept him from being considered a "star" in the public's eye. It's a miscarriage of comic justice that Chris Farley led an overblown tabloid life but in death was hailed as "a brilliant comedian," while Phil Hartman was truly a brilliant comedian in real life who, in death, will now be nothing more than tabloid fodder.
It's said that just before Hartman tried out for "Saturday Night Live," desperate for work, he had auditioned to become the prize announcer on a new version of "Let's Make A Deal." For whatever reason, they turned him down, and Lorne Michaels hired him instead. If it had gone the other way, we would have all missed out on quite a deal, and some damn good comedy, too.
May 30 - June 12
10 Questions w/ Phil Hartman
It happens again. The Movie Guys are back at Planet Hollywood, having a meal that is truly out of this world, sitting underneath the nuclear warhead from True Lies, when suddenly, the man with a thousand voices strolls into the restaurant. Actor/comedian Phil Hartman has this friendly genuine glow around him that engulfs all who stand near him. He was gracious enough to sit down with us and answer a few questions.
The Movie Guys: You co-wrote Pee Wee's Big Adventure with Paul Reubens and appeared as Captain Carl on Pee Wee's Playhouse. When you first met Paul, did you think he was creepy?
Phil: (laughs) Honestly, Paul Reubens had such enormous power as a performer that he was instantly enamored by all the people who worked at The Groundlings (Improv Club) where I met him in 1979. Pee Wee was just one of several fully realized characters that Paul could do. His gift was beyond anything I've ever seen.
The Movie Guys: You were a renowned album cover artist for many years. What's the most infamous album cover you designed?
Phil: I think my most famous was Poco's Legend. It's a white album with a simple line drawing of a horse. It almost has a Picasso feel to it. I remember that Rusty Young, the lead singer of the band, said "I want you to draw a horse for the song 'Legend,' which is about a phantom spirit horse. I want you to do it in several lines. I ended up doing it in 22 lines and that was a simple as I could make it and still capture the essence I wanted. I drew the image maybe 20 times, until I came up with the cover that I'm very proud of.
The Movie Guys: If Bill McNeil ("NewsRadio") and Ted Baxter ("The Mary Tyler Moore Show") got into a fight, who would win?
Phil: (laughs) Bill McNeil would probably prevail over Ted Baxter because Bill isn't really that stupid. He's just arrogant and he'll say stupid things sometimes with utter conviction. That's the height of arrogance, I suppose, if you feel it doesn't matter what you say because in your world, you only speak the truth. Ted Baxter was a bit of a dimwit and I think that Bill would roll right over him. As for who's funnier ... oh, boy ... Ted Knight was a very funny man.
The Movie Guys: When you were a kid, you and your friends had a secret code you would speak so you could swear when adults were around: what was that?
Phil: (shocked) That's right! Wow, you guys have really done your homework. My brothers and sisters and I spoke in a language called Egg Latin. In the early '50s in Canada, this became a fad way of talking among certain people. It's based on the concept that in every syllable before the vowel and after the preceding constant you insert the word egg. So, my name Phil would be "Pegghil." The United States of America would be "The ggeeggUneggitegged Steggategges eggof eggAmeggereggicegga." We would speak this language and what would be amazing about it is that we could all do it fluently. If you give me a sentence, I could translate it for you. (Phil then recites the Pledge of Allegiance in Egg Latin. We take his word for it.)
The Movie Guys: You appeared on Saturday Night Live for eight seasons. Which host was the most fun, and which one was the biggest jerk?
Phil: There were only a few jerks and I don't want to malign anybody, because hopefully they've mended their evil ways (laughs). The most fun was Robin Williams, a feat of nature. A truly amazing talent to be around. I remember when Robin would visit our various offices. You would be there in the middle of the night, working by yourself and you'd hear this laughter echoing three doors down, then two doors down, then one door down and then he would come into your room like the Tasmanian Devil. You would basically leave your tape recorder going and he would write your scene for you that you would have in mind. A very warm-hearted guy. That's why he's such a fine actor. Tom Hanks, a super guy; John Goodman; Alec Baldwin; all of whom could have been cast members if they weren't such big stars already.
The Movie Guys: Do you remember Troy McClure?
Phil: I am Troy McClure. You may know me from such motion pictures as "Hitler Doesn't Live Here Anymore" and "Sorry, Wrong Closet." But, tonight I'm here to tell you about a new toothpaste that not only cleans and brightens but straightens your teeth.
The Movie Guys: Who is Captain Blasto?
Phil: Blasto is a new game for Sony Playstation. It's an awesome three-dimensional game and I play the character Blasto who's sort of a Flash Gordon barrel-chested superhero who goes to Uranus and shoots these little green alien Fascist guys. He rescues babes, he goes on wild rides. I went into a recording studio for one day and recorded six hours of everything that Blasto might say. The game just came out; my little boy loves it and I hope it does well.
The Movie Guys: Was Unfrozen Caveman Lawyer based on special prosecutor Kenneth Starr?
Phil: (laughs) Could've been. Frozen Caveman Lawyer has the same voice as Lionel Hutz, Ambulance Chasing Attorney. (Phil goes into the voice of Lionel Hutz) "Mrs. Simpson, I think your son could be seriously injured. I'd like to take him to a chiropractic specialist by the name of Dr. Nick Riviera, who might find soft-tissue damage that your physician might be unaware of." (laughs) Now, the same voice says; "I'm just a caveman who fell through some ice and was later thawed by your scientists. Your world frightens and confuses me." (laughs)
The Movie Guys: Let's play a word-association game. Tell us the very first word that pops in your mind.
The Movie Guys: Lorne Michaels.
Phil: Royalty.
The Movie Guys: Sinbad.
Phil: Teeth.
The Movie Guys: Andy Dick.
Phil: Dick.
The Movie Guys: Frank Sinatra
Phil: Swings
The Movie Guys: You were a contestant on The Dating Game in 1965. So, Bachelor #1, here's your final question: If I were a pitcher of cold water and you were a packet of Kool-Aid, what flavor would you be?
Phil: (letting out a big laugh) Banana Royal. That's how I won, by being lascivious. They asked me "If you were a street sign, what would you be?" I said, "Slippery when wet." The audience went nuts. So, she voted for me, but I think her parents vetoed it, 'cause she stood me up.
Phil Hartman Fact File
Born: Sept. 24, 1948 in Brantford, Ontario, Canada
Died: May 28, 1998 in Encino, Calif.
Hartman, 49, made his mark in comedy in 1975 when he became a member of the famed Groundlings comedy troupe in Los Angeles. The actor/comedian joined the cast of NBC's "Saturday Night Live" in 1986 and stayed on for seven seasons. His vast repertoire of characterizations included such personalities as Bill Clinton, Frank Sinatra, Jack Nicholson and Ted Kennedy. Long-established as a reliable character actor, Hartman has appeared in such motion pictures as Greedy, House Guest, Sgt. Bilko and Jingle All the Way. Married and father of two, Hartman spent his infrequent off-time piloting his own plane, sailing, scuba diving, golfing and skiing.
June 1998
Phil Hartman -- Tragic Irony
by Scott Proudfit
There have been a lot of celebrity deaths recently, but none seems tragic in the way that Phil Hartman’s does. This is partly because Hartman’s violent death was so unforeseeable: Hartman wasn’t elderly, he wasn’t on the suicidal path of drugs and alcohol, and he was a family man whose private life was not the racy stuff of tabloid covers.
Adding to the initial shock of the man’s death is the undeniable feeling that Hartman still had so much ahead of him as an actor. While his television career was at an all-time high, he still hadn’t done that true breakout role in a feature film, the one that would make him a star outside of American television and throughout the world.
More tragic than potential unfulfilled, perhaps, is the immediate loss Hartman’s death means to his fans and the viewing public at large. Hartman’s weekly contribution to comedy, not only to the hilarious NewsRadio but to The Simpsons as well, is such a huge part of quality network comedy programming from day to day. It’s certainly not an exaggeration to say that from this day forward the world will be a slightly sadder place.
What made Phil Hartman so unique and so wonderful? In some ways, the actor represented the end of an era of great improv comdey performers on Saturday Night Live. From 1986 to ’94, Hartman became the old man and the Everyman of SNL. He nurtured so many young performers, while at the same time growing disillusioned by the attitudes of this next generation. Hartman was a team player, and he couldn’t see the value in the selfish spotlighting of individual characters for which most of the younger cast members strove. It was contrary to his training at the Groundlings to steal a scene to the detriment of the show.
In fact, it’s very telling that Hartman never had any of his characters do commentary during the Weekend Update segment, a veritable showcase for performers like Adam Sandler and David Spade, who merely wanted to show off material rather than create a great sketch with others.
It’s ironic, then, that Hartman’s comic sensibility thrived on the self-involved image of performers which American formed in the cynical 1980s and ‘90s: He was the prototypical actor/spokesman. His deep game show announcer’s baritone captured the fake sincerity of egotistical actors more concerned about their hair and makeup than the role they’re playing. As Troy McClure, The Simpson’s B-movie star and infomercial mountebank, or as countless pitchmen on SNL’s commercial parodies (such as Colon Blow or Green & Fazio, harassment attorneys), all Hartman had to do was say, "Hello!" in his ridiculously earnest way, and we knew we were in for something funny.
Indeed, he was so good at the grinning, vacant, handsome-actor persona that it often blurred with his own personality. Unlike, for example, Dana Carvey, whose impersonations were so broad and off-the-wall that it was always clear when he was putting on another face, Hartman slipped into characters invisibly. Only the vague knowledge in the back of our heads that we were watching actor Phil Hartman and not Phil Donahue or Bill Clinton or Frank Sinatra added that essential element of irony, allowing for the distance of laughter.
Hartman explained his style of impression best when he said, "When I do somebody, I really try to be as much like them as I possibly can, and I don’t like to go too far with the caricature. I like to see how close I can get, because I think, in a way, that’s what my talent is -- that I can really get so close that it allows the audience to suspend disbelief."
This ability to make us suspend our disbelief also saved a number of one-joke sketches on SNL that would have been atrocious without Hartman’s talent. It was Hartman’s completely dedicated, serious performance in thin sketches like Unfrozen Caveman Lawyer or the Soylent Green parody that made the material not only bearable but hilarious.
Hartman’s talents culminated in his performance as Bill McNeal, the outrageously shallow announcer on NBC’s NewsRadio. In an early episode, in which McNeal is being forced to stop smoking in the office, Hartman exploded in a wildly angry tirade against his boss. It was a hysterical scene, but it also represented a new kind of reckless abandon for Hartman. Still completely grounded and believable, McNeal nonetheless offered Hartman the opportunity to push the comic limits of insincerity, arrogance, and superficiality. He rose to the challenge. While the ratings may not have shown it, NewsRadio was the best comedy on prime time, and it was largely due to Hartman.
Because Hartman was so often putting on a character even when he was supposed to be acting natural (such as the Hollywood big shot image he jokingly put across in interviews with Letterman or Leno), we rarely got a true sense of what a kind and caring man he apparently was, from all reports. It was as if Hartman realized that any image he put forward to an audience would necessarily be fake in some way, so why insult the audience with false modesty or pseudo-sincerity? This set him apart from Hollywood’s masses of "concerned" and "caring" actors, who are basically selling themselves to the public.
Hartman was too good for that. From his early days as a writer on Pee Wee’s Big Adventure through his eight years on Saturday Night Live to his greatest work on NewsRadio, Phil Hartman stood above other comic actors for one simple reason: He respected the intelligence of his audience and he respected the talent of his fellow performers. His untimely death is a loss to performers and audiences which will be felt for years to come.
June 15, 1998
The Murder of Phil Hartman
The grisly details would emerge soon enough. For now, Phil Hartman's stunned friends wanted only laughter. And so, just hours after receiving word on May 28 that Hartman had been fatally shot in his sleep by his wife, Brynn, who then orphaned the couple's two young children by shooting herself in a bedroom of their $1.4 million Encino house, several of the comic's buddies met at the L.A. home of Jon Lovitz, Hartman's close pal and former Saturday Night Live castmate. "Everyone was telling stories about Phil,"says Ron del Barrio, Hartman's golf instructor, of the gathering that included SNLalum Laraine Newman. "But when they'd start to laugh, they'd immediately lose it. They couldn't believe they were talking like he was gone." A distraught Lovitz cursed, shook his head and cried, "I don't understand how this could happen."
How the 10-year marriage of one of Hollywood's most amiable celebrities could end in a bloody murder-suicide was a question that vexed friends and fans alike in the days following Hartman's death. What could possibly have triggered the savage rage that prompted a loving mother to leave her children parentless? "This is just a tragedy beyond description," says Rita Wilson, Tom Hanks's wife and Hartman's costar in the 1996 film Jingle All the Way. "Now two children are left without the two most important people in their lives, and with a lifetime of confusion." What made the tragedy more puzzling was that, on the surface at least, the Hartmans' marriage was as robust as his career. The Canadian-born Hartman, 49, was an enormously talented and popular performer -- lauded for his stinging impressions of Bill Clinton and Frank Sinatra on Saturday Night Live, the goofy characters he voiced on The Simpsons and for his role as pompous anchor Bill McNeal on the NBC comedy NewsRadio, which had recently been renewed for a fourth season. He had also starred in such movies as 1994's Greedy (with Michael J. Fox) and 1996's Sgt. Bilko (opposite Steve Martin) and most recently lent his baritone to the children's action comedy Small Soldiers, due in July. And while Hartman worked, Brynn -- a former model who jettisoned her own acting plans -- raised their son Sean, 9, and daughter Birgen, 6. "They always seemed happy," says Todd Red, a bartender at Buca di Beppo, where the Hartmans celebrated her 40th birthday recently. "They always held hands and laughed and seemed like they were having a good time."
Yet Hartman, a master mimic, may have just been playing another role. His relationship with Brynn, his third wife, was far more troubled than their public appearances allowed. The Hartmans were emotional opposites: Brynn, say several of the couple's friends, was volatile and insecure about her husband's fame, while Phil, an outwardly genial man, was often sullen and withdrawn in private. Lawyer Steven Small, a friend of Hartman's, says the comic once told him, "`I go into my cave and she throws grenades to get me out.'" Adds Small: "Phil was always very open with the public, but at home he retreated inside."
That combustible mix
was undoubtedly aggravated by another factor: Brynn's substance abuse problems. A recovering alcoholic and cocaine user, Brynn had recently resumed drinking after a decade of near-sobriety. "She admitted she'd had a couple of episodes when she'd fallen off the wagon,"says a friend, songwriter Linda Thompson. "I remember her saying she didn't want to be an addict." In the last few months, Brynn had been in and out of rehab; earlier this year she checked into an Arizona clinic, where she stayed for only four or five days before leaving. Several days before the homicide, Brynn -- who had been taking an antidepressant that can cause violent outbursts if mixed with alcohol or drugs--began drinking and using cocaine again, according to her close friends. Brynn's erratic behavior from drug use, says a TV producer who knew the Hartmans, led their housekeeper to quit 10 days before the shootings. And Jeannie Petersen, a childhood friend of Brynn's who stayed in touch with her, says Brynn wanted out of the marriage. "Sometimes she'd call me and she'd be real hurt," Petersen says. "He wouldn't give her a divorce. For two years she was trying to get it." Others say it was Hartman who wanted out. "This," says the TV producer, "was not a happy household."
The Hartman saga approached its deadly denouement the evening of May 27, which began with Brynn's visiting the Italian bistro Buca di Beppo with her friend Christine Zander, a supervising producer with the NBC sitcom 3rd Rock from the Sun. "She was in a good frame of mind," Zander told PEOPLE. "She seemed content." Brynn nursed two Cosmopolitans (vodka, triple sec and cranberry juice)over two hours and "didn't talk about any problems," says Zander. "We made plans to see each other the following weekend."
Later that night she returned to her Encino home and had a heated argument with Hartman. "He had made it very clear that if she started using drugs again, that would end the relationship," says Steven Small, who also notes that the couple's arguments followed a familiar pattern: "She had to get amped up to get his attention, and when she got amped up, he would simply go to sleep. He would withdraw. And in the morning he'd wake up, and everything would be fine." But this time, Hartman's ostrich imitation had fatal consequences. Shortly before 3 a.m., Brynn shot Hartman three times as he slept, twice in the head and once in his right side. She used a .38-caliber handgun, one of several weapons Hartman kept in a safe in his home. According to a source close to the family, their son Sean, who had been in his bedroom upstairs, told police he had heard some sounds he described as "the slamming of a door."
Following the shooting, Brynn fled the scene and drove to the home of Ron Douglas, a longtime friend of hers. She confessed to Douglas what she had done, but he didn't believe her. She made a second call to another friend and again confessed to the crime. Brynn then returned to her Encino home with Douglas, and at 6:20 a.m. he called 911. Police arrived quickly and escorted a frantic Sean to safety. As they were taking a terrified Birgen out of the house, officers heard a gunshot inside. Storming the bedroom, they found the bloodied Hartman on the bed and Brynn, with a single gunshot to her head, next to him.
Devastated friends
described Brynn as a wonderful mother who was devoted to her children. "She was always hanging out with them, always driving them around," says her close friend Andrea Diamond, a homemaker. "She wasn't feeling trapped in motherhood." Diamond rushed to the Los Angeles jail where Sean and Birgen were sheltered after the shootings, bringing them McDonald's french fries and holding them as they cried and fell into uncomprehending silence. The children are now staying with Hartman's brother John, a Los Angeles record- company executive, until, as stipulated by the Hartmans' wills, they are taken in by Brynn's married sister Katherine Kay Wright, 29, who lives in Eau Claire, Wis. Hartman's will, which estimates his worth at $1.2 million, also states his desire to be cremated and have his ashes scattered over Emerald Bay on California's Catalina Island. A separate memorial for Hartman, at Forest Lawn Memorial Park, was planned for June 3.
Before this incident made Phil Hartman a household name, he was as humble and unassuming as a Hollywood star could be. The fourth of eight children, Hartman was born in Brantford, Ont., to Rupert Hartmann (Phil later dropped the second n), a building materials salesman -- who died, at 83, just weeks before his son -- and his wife, Doris, 79, a homemaker. Hartman told PEOPLE in 1993 that as a youngster he "didn't make any waves." Even as an adult, he said, "I have a passive, people-pleasing, middle-child mentality."
Hartman also had an artistic streak that led him to California State University, Northridge, where he majored in graphic design. After graduating he designed art covers for such rock groups as Poco and Crosby Stills and Nash before joining an L.A. improv group, the Groundlings, in 1975. "He was always gentlemanly and kind, which is rare in comedy," says fellow Groundling Patrick Bristow. "Phil was everybody's big brother." His improv work landed Hartman a performing gig on Saturday Night Live in 1986, and when he left eight years later his participation in 153 episodes had set a record. "His nickname was `the Glue,'" says SNL creator Lorne Michaels. "He kind of held the show together. He gave to everybody and demanded very little. He was very low-maintenance."
But that same low-key demeanor served him less successfully in his personal life. Hartman's first brief marriage was to Gretchen Lewis in 1970; his second, to real-estate agent Lisa Strain in 1982, ended less than three years later. "He would disappear emotionally," says Strain. "Phil's body would be there, but he'd be in his own world. That passivity made you crazy. And when I'd protest, he'd say, `You're getting in the way of my career, and this is who I am and what it's going to be like.'"
Hartman's reclusiveness would again become an issue in his third marriage, to Brynn, the former Vicki Omdahl of Thief River Falls, Minn. The daughter of Donny, 59, a former engineer who is now a partner in the Lantern, a popular Thief River Falls restaurant, and Connie, 58, who runs a retail shop, Omdahl was "just another student, an ordinary young lady,"says her Lincoln High School principal Terry Soine. Determined to change that, Omdahl dropped out of high school, married and divorced Doug Torfin, a telephone operator, and did some modeling in Minneapolis before heading to California and acting lessons. "She was always looking to find herself," says a friend who has known Brynn since she was 18 and who notes that she changed her name several times. "When I met her, she was Vicki; then she became Vicki Jo, then Brindon and then Brynn. I'd laugh and say, `Who are you this week?'"
In fact, Brynn was
plagued by a powerful insecurity that was not assuaged by her 1987 marriage to Hartman. She was working as a Catalina swimsuit model when she met him on a blind date in 1986. "He had never had a `babe' before, and she was it for him,"says a friend who knew the couple in their early days. "He married his dream girl." But Brynn's friend Suzan Stadner says that Brynn soon "felt intimidated by Phil. He was this confident guy on the way up." When Hartman was tapped by Saturday Night Live, they moved to a tiny apartment in Manhattan, where Brynn took acting lessons and looked after their young children. "She would tell me she felt secluded and totally cut off," says Stadner. In the opening credits to Saturday Night Live, Hartman could be seen sitting in a booth next to Brynn, whose face was never shown. "`I kept trying to get my face on-camera, but the damn director kept telling me to turn away,'" Brynn complained to Stadner. "`I was so frustrated.'"
Frustration would prove a major theme in the Hartman marriage. "Brynn didn't have her own identity," says an L.A. friend, Shelley Curtis. "She was a little confused and lost in the Phil Hartman game." Low self-esteem led Brynn to undergo several cosmetic surgeries. "I understood her need to spruce up her exterior because she didn't think she had an interior," says Stadner. A plastic surgeon who operated on Brynn says she was "very insecure. She wanted to be this perfect wife of a Hollywood actor." Metza Giezing, the Hartmans' former New York City nanny, says some of the surgery was Phil's idea. "He thought her face was too round and wanted her chin to be more square," says Giezing.
Tensions in the marriage mounted as steadily as accolades for Hartman's talent. "He told me she'd create scenes and throw fits, "says his second wife, Strain, who sent Hartman a letter congratulating him on the birth of his son in 1988. "Brynn wrote me back four pages of the most hideous vitriol you could imagine," says Strain. "I called Phil and said, `Do you have any idea who you are married to?' And he said, `You should've seen the letter she wanted to send.'" Strain says Hartman "wanted to do whatever he could to make this marriage work." And yet he couldn't stop his habit of drifting away from the woman who needed him most. "It was a pleasure to see how Phil interacted with people," says his pal Small. "And yet I have a feeling that Brynn got none of that."
Even so, neither
partner had given up on the marriage entirely. Hartman, who made around $50,000 per episode on NewsRadio, had been talking about retiring to Catalina Island. "He had a three-year plan," says Debbie Avellana, a friend and waitress at Armstrong's on the island, where Hartman often vacationed. "His attitude was that his wife should hang on for a couple more years and then they would get to be together all the time." The week before he died, says Small, "I asked him how things were with him and Brynn, and he said, `It's as good as it's ever been.'"
Brynn, too, was looking to the future. Only two days before the shootings, she booked an appointment for her and Phil to enjoy an "Endless Courtship" treatment at the Skin Spa near their home. "I know they were both really looking forward to the summer," says her friend Andrea Diamond. "They were just trying to get through the month of May."
Even that fateful night, Brynn gave no hint that anything was amiss as she relaxed in Buca di Beppo. "The only thing unusual was she was there without Phil," recalls bartender Todd Red, an aspiring actor whose career Hartman would always ask about. Brynn and her friend Christine Zander "seemed to be having fun," Red adds. "They were smiling and laughing." Around 9:45 p.m. they got up to leave. "Goodbye, it was good seeing you," Red called to them. Brynn, smiling, responded, "`I'll be back real soon, and I'll be sure to bring Phil next time.'"
-- ALEX TRESNIOWSKI
-- KEN BAKER, AMY BROOKS, TODD GOLD, JOHN HANNAH, DANELLE MORTON, MONICA RIZZO and IRENE ZUTELL in Los Angeles, MITCHELL FINK and CYNTHIA WANG in New York City, BARBARA SANDLER in Chicago and MARGARET NELSON in Thief River Falls
October 26, 1998
In Phil's Spirit
By Mark Schwed
The NewsRadio family will never forget the great Phil Hartman
On the surface everything looks normal on the set of NBC's NewsRadio. The mood is light and relaxed as the cast and crew prepare to film this season's sixth episode. Ratings are as good as they've ever been, maybe even a notch better. And Saturday Night Live veteran Jon Lovitz is looking like a perfect fit as WNYX radio anchorman Max Lewis.
But things are not normal.
"I see him all the time," says Joe Rogan, who plays Joe Garelli, the radio station's electrician. "Like the other day I was getting a cup of coffee, and some guy came up behind me, a grip or someone, and I thought it was him. I see him walking on the street sometimes. But it's not him. It's not Phil."
Rogan is talking about Phil Hartman, the much loved rock of NewsRadio who was shot to death in his Los Angeles home May 28 by his wife, Brynn, who then turned the gun on herself. "Phil was the guy everyone looked up to," says Lovitz, who thought of Hartman as an older brother. "He had a very paternal side. He was like the dad." He was also a star. Arrogant anchorman Bill McNeal was one of Hartman's most memorable creations, a blend of people real and imagined, a fine addition to his arsenal of 60-plus impersonations, Simpsons voices and SNL creations.
Since Hartman died, there have been many opportunities to mourn: at the private wake, at the tribute at Paramount Studios, when the cast taped their first episode of the season and said good-bye to Hartman and McNeal.
Yet on this day, when they welcome the first reporter to the set since the news broke-more than four months after Hartman's murder, more than six weeks after the cast began shooting new episodes without Hartman-you can sense that these people are profoundly wounded. Who wouldn't be?
Vicki Lewis, who plays the newsroom's secretary, Beth, seems the most fragile. On September 24, the day Hartman would have turned 50 years old, there was no cake, no party. So Lewis slipped quietly into her dressing room. "I sang 'Happy Birthday' to him," she says. "That's queer, but..." She starts crying.
But it is the prop elevator on the set that gets to her most. Three years ago marked a major milestone in Lewis's life: She had landed a gig on NewsRadio and was about to do her biggest episode, one where she and Hartman had lots of lines. "We were standing at that elevator over there, and Phil and I were saying good-bye to each other in the scene, and I remember thinking to myself that I had made the big time. I know it sounds stupid to say, but I thought that in that moment my life had changed. When we taped our first episode this season, I went over to the elevator and just stood there, because whenever I look at that elevator, that's where I really think of Phil."
There are reminders all over the set. You can't help seeing one new prop: the framed phony magazine cover of a smiling Hartman (as McNeal) that will sit in news director Dave Nelson's office for as long as NewsRadio stays on the air. Recently on the set, Dave Foley, who plays Nelson, picked up a file folder, opened it and found himself staring at an aviation magazine. "Phil used to hide these all over the set," Foley recalls with a soft smile. "He loved flying [Hartman was an accomplished pilot who owned his own plane.-Ed]. It does get easier. Everyone has had someone close to them die.You don't grieve every day forever. But there are always going to be moments when it just comes sweeping back."
One such moment occurred during the first episode of the season, when the cast had to say good-bye to Hartman's character, who died of a heart attack while watching TV. The challenge was to make it funny-this is, after all, a comedy-while acknowledging the loss of Hartman. "I didn't like the idea at first," says Andy Dick, who plays the bumbling street reporter Matthew Brock. "I called the writers a couple times and said, 'I don't know how you're going to do it.'" It wasn't easy.
At the table read, where the cast gathers to go over the script for the first time, everybody cried. But during the weeklong rehearsal, there was an unspoken agreement to try to treat this like any other episode. The worries were about camera angles, shortening this line, changing that one-until the night of the taping. In the show, each character handles McNeal's death differently: One gets drunk, one wrecks his home, one doesn't believe McNeal is dead at all. Toward the end, when Foley's character is reading McNeal's will, there is this line that breaks everyone up: "I'll see you all when you get to wherever it is I am."
After the show, the entire cast and many in the audience were weeping. "It was the hardest thing I've ever had to do," says Stephen Root, who plays station owner Jimmy James.
NBC had renewed NewsRadio just 10 days before Hartman was killed. After a period of shock and mourning, the first thought was to cancel the show. "Absolutely," confirms NBC Entertainment president Warren Littlefield. "I don't remember if it was the first week or the second week after his death, but I called the producer and started to say, 'Shall we fold up the tent, or is there something else to do?'"
That something else turned out to be bringing in the 41-year-old Lovitz, who had known Hartman for 14 years, first at the Los Angeles improvisational group the Groundlings, then at Saturday Night Live. The pair was so close, they would often spend holidays together.
"I didn't want to do it because I didn't want to face... I wasn't ready to face the fact that Phil was really gone," says Lovitz, who stares off when he speaks of Hartman. "I didn't want it to appear like I was profiting off his death.
"I know a lot of TV critics will write, 'He's no Phil Hartman,'" continues Lovitz. "I'm the first to say I'm no Phil Hartman. I looked up to him. He was a genius. He was a really neat guy. I realize what's more important is that it's helping me to be here, and I think it's helping the cast to have a friend of his. So it's healing for me and the cast."
Back on the set, cast member Maura Tierney, who plays newswriter Lisa Miller, bounces a ball to her little black pug, Rosey. Foley picks up the dog and plops her on his desk. Lewis playfully gooses Rogan while rehearsing a scene. The mood is upbeat. But the tears are there, just under the surface. The people of NewsRadio have said farewell to Bill McNeal. But they just can't say good-bye to Phil.