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Meryl Streep and Viola Davis Will Not Make Good Oscar Rivals

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Don’t we long for some hair pulling and cat fighting among the Oscar nominees? Well, with Meryl Streep and Viola Davis in the mix, it’s going to be very dullsville. First of all Streep–in the mix for “The Iron Lady”–has written a love letter to Davis in the current issue of Entertainment Weekly. Then, I’m told, that Davis is presenting to Streep on January 9th at the New York Film Critics Circle dinner. Davis, of course, is in the mix for “The Help” as lead actress. So much love! So little sniping! Actually none!

Last night I ran into Viola Davis and husband Julius at the premiere of “The Girl with the Dragon Tattoo.” Again, she only had nice things to say about everyone. And Davis got to meet Joely Richardson, so outstanding as Harriet Vanger in “Tattoo.” Viola said: “I have to sit down and ask Meryl how she has managed to live her life normally all these years. This is what I want to learn from her. She doesn’t let anything get to her.”

Meanwhile, the whole “Tattoo” crowd was there including director David Fincher, producer Scott Rudin, snazzy Sony chief Amy Pascal, plus Daniel Craig, Rooney Mara, Christopher Plummer, Robin Wright and Stellan Skarsgard. Their movie has opened late in the awards season, so they’re hoping to still catch a Golden Globe or Oscar nod. (We’ll see this morning on the former.) Rooney Mara is eye popping sensational as Lisbeth Salander, the punk bi-sexual investigator who doesn’t take any you know what.

Plummer, meantime, is glowing. On Tuesday he turned 82. He’s in the Oscar mix for Best Supporting Actor in “Beginners.” He’s superb in “Tattoo.” He doesn’t stop. What a year, huh? “It’s not bad,” he said, with a Cheshire grin.

By the way, the excellent American version of “Tattoo” boasts a couple of cameos from actors we don’t see so often: Embeth Davidtz, who made her name in “Schindler’s List,” and Julian Sands. Plus Alan Dale, who played the evil Charles Widmore on “Lost” so memorably, is a police detective.

Mariah and Justin Bieber Were Too Expensive for “X Factor”

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Last week I reported that Mariah Carey and Justin Bieber would be performing on “X Factor.” They were scheduled to sing “All I Want for Christmas Is You” on December 15th. But now I’m told that Carey’s set up — band, dancers, back up singers, make up, lighting, not to mention nannies (just kidding!) etc– was just too rich for the “X Factor” budget. The price would have come in around $300,000. Hey, it’s tough times for everyone!

“Mariah hasn’t performed live in about a year,” says a source. “She wanted to make sure everything was perfect. She certainly doesn’t sing to a track.”  And so a dream dies. But the possibility still exists of Carey singing on next year’s premiere, Meantime, I am told also that Mariah’s album with under-the-radar manager Randy Jackson is proceeding well. This could be her last album for Universal Music Group if she decides to join L.A. Reid at Epic/Sony. And Justin Bieber? Despite his enormous teen popularity, his Christmas album is being outsold by Michael Buble at a rate of 2 to 1.

You’re So Wrong: New Carly Simon Book Is More Like Fiction

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Carly Simon is fuming mad, and I don’t blame her. The legendary pop star is the subject of a new unauthorized biography by a former childhood friend named Stephen Davis. Davis, I can tell you personally, lifted quite a few interviews and quotations for his book from other sources without credit. This reporter is one of the people he stole material from. There are others.

In “More Room for a Broken Heart,” to be published officially in January by Penguin/Gotham, Davis makes some serious mistakes and I’d say possibly commits plagiarism. Some mistakes I’ve checked with Simon and her staff. Others I have first hand knowledge of. Davis, for example, liberally quotes from lots of interviews Simon has given over the years without ever giving proper credit or citation. Penguin Books should be ashamed of itself for not asking Davis for research attribution.

More seriously: Davis asserts that Simon had an abortion at the end of a relationship with actor Jeremy Irons in 1984. Simon insists to me this is not true. Davis also says that the affair with Irons broke up his marriage to actress Sinead Cusack. Again, untrue, and they’re still together to this day.

She’s also extremely unhappy that Davis made up a story in which Simon purportedly called one of her best friends, Dick Ebersol, a “jerk” for allegedly giving away the “secret” subject of the song “You’re So Vain.” None of that ever happened.

A story in Davis’s book about Simon having an affair with Mick Jagger right before her marriage to James Taylor–also untrue. Davis claims that Bianca Jagger called Taylor and told him they must be sleeping together. That is why Taylor and Simon married quickly, Davis asserts. Again: untrue.

As well, Simon–as a matter of courtesy–tells me she gave Davis a few autobiographical pieces she’d written for him to read, with no rights to publish them. He ignored that and published them anyway. He’s reprinted them or paraphrased them without her approval or authority. Simon’s lawyers believe he may have violated her copyright. Since 1986, no one had ever read a short piece of memoir that Simon had written but yours truly, some of her family, and the late Jacqueline Onassis. I’ve held it in my files; I didn’t have the right to reproduce it. Davis didn’t either, but that didn’t stop him. The way he’s woven it into his book makes it seem like he wrote it himself. This is a major transgression.

Davis takes great pleasure in taking mean whacks at both of Simon’s ex husbands, James Taylor and Jim Hart. He gets most of it wrong, especially about Hart, one of the nicest guys ever. He makes it seem like Hart was an interloper who resented Simon’s fame and friends. This is an utter lie. And Hart was a poet with friends in the literary world, like “Ironweed” author William Kennedy. He was a man of substance before he met Simon.

But Jim was also a recovering alcoholic. In 2002, he fell into a serious problem with crack cocaine. He went into rehab and pulled himself together in a year’s time. Davis says this all happened in 1992. It did not.

The sad part of Davis’s book is that it’s a clip job. There is no interview with Carly Simon. She doesn’t exist as a person in the story, just as a bold faced name. There are no insights because no primary interviews exist. Davis did get Penguin to pay Simon’s brother Peter for personal family photographs. That gives the book a sense of authenticity. Penguin also uses a quote about Davis from Simon on the back cover which makes the book sound authorized. Simon says it’s out of context and should not have been used.

I found at least three instances of my work from pieces I’ve written about Simon in Davis’s book, without credit or attribution.  I can tell you that anecdotes — about Marvin Gaye trying to stick his tongue down Simon’s throat, and another quote about her son Ben’s kidney surgery, and another about James Taylor’s heroin addiction– were lifted directly from an article I wrote in 1989 for Fame magazine. Davis has simply taken the quotes either verbatim or interpolated them. There are no citations.

I am told that Davis also liberally lifted from Sheila Weller‘s “Girls Like Us.” Weller has recently posted about this on her Facebook wall. She writes: “To my many journalist/author FB friends: What do we do with these unabashed clip-jobbers? Just roll our eyes and shake our heads, I guess. This anecdote was lifted whole (quote, verbatim) from exclusive (though, dare I say, far more nuanced ) material in my book. Davis has no source notes, no bibliography, not one single author/journo acknowledgement in his whole book. Disdainful bemusement for a Sunday morning…”

Shame on Davis and Penguin. There may be other instances like this. Davis should be made to produce all of his research material. He also spells the “Carlisle” Hotel name wrong (anyone knows it’s Carlyle). That should tell us something right there.

Penguin/Gotham is already starting to release publicity items on “More Room.” They planted one in the NY Post and another in the Boston Herald. My advice to them is stop doing that and verify what’s in that book.

 

SAG Snubs “Tattoo,” “Extremely,” “War Horse,” “Hugo,” “Zoo,” Angelina, Madonna

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SAG Awards nominations had some big snubs. Albert Brooks, who’s picked up a few awards from critics in the movie “Drive.” was ignored. Ryan Gosling didn’t make it from either “Drive” or “The Ides of March,” which is really shocking. SAG also totally skipped both Scott Rudin movies, which screened late: “The Girl with the Dragon Tattoo” and “Extremely Loud and Incredibly Close.” Also not mentioned for anything: “War Horse,” Hugo,” “We Bought a Zoo,” and movies directed by Angelina Jolie and Madonna. Biggest surprise: that “Bridesmaids” has turned out to be “The Hangover” of 2011. Maybe that it will be it for wedding comedies once this is done.

SAG Awards Nominate The Artist, The Help, Midnight in Paris, Descendants, Bridesmaids

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Here are the SAG Award nominations, announced this morning at 9am eastern time. The SAG Awards are the closest indicators of the Oscars, right there with the Critics Choice Awards. Dick van Dyke will present Mary Tyler Moore with the Lifetime Achievement Award when the show airs January 26th on TNT. The biggest surprise? Damien Bichir, a veteran actor who’s best known for his role on “Weeds,” was nominated for Best Actor in a Motion Picture in the movie “A Better Life.” And Melissa McCarthy was nominated for “Bridesmaids,” which also got a Best Ensemble nod with “The Help,” “The Descendants,” “The Artist,” and “Midnight in Paris.”SAG has resurrected Glenn Close and Janet McTeer from “Albert Nobbs.”

Snubs include “War Horse,” “Hugo,” “Girl with the Dragon Tattoo,” and “Extremely Loud.” Also, nothing for “Shame,” which has turned out to be a dud even with all that salacious sex. And movies that have now sunk into the abyss include Angelina Jolie’s “Blood and Honey,” Roman Polanski’s “Carnage,” Cameron Crowe’s “We Bought a Zoo,” and Madonna’s “W.E.” Also, sadly, both Ryan Gosling movies–“Drive” and “The Ides of March.” Also Albert Brooks from “Drive.”

BEST ENSEMBLE

The Help

Bridesmaids

Midnight in Paris

The Descendants

The Artist

BEST ACTOR

Brad Pitt

Jean DuJardin

George Clooney

Leonardo DiCaprio

Damien Bichir

BEST ACTRESS

Glenn Close

Meryl Streep

Michelle Williams

Tilda Swinton

Viola Davis

BEST SUPPORTING ACTRESS

Berenice Bejo

Melissa McCarthy

Janet McTeer

Octavia Spencer

Jessica Chastain

BEST SUPPORTING ACTOR

Kenneth Branagh

Armie Hammer

Nick Nolte

Christopher Plummer

Jonah Hill

BEST STUNT ENSEMBLE

The Adjustment Bureau

Cowboys and Aliens

Harry Potter and the Deathly Hallows, Pt. 2

Transformers

X Men: First Class

UPDATE: Madonna New Album to UMG–As We Said

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I told you on November 6th that Madonna’s new album would come from Universal Music Group. http://www.showbiz411.com/2011/11/08/exclusive-madonna-new-album-headed-to-universal.  No big deal, Page Six reports it today. I told you it would be with Jimmy Iovine at Interscope. And it is. Madonna is now on the same label as Lady Gaga, who sounds a lot like her. The new album will debut this spring–probably late–and watch for Madonna on “American Idol” since she has as much trouble selling product–CDs or digital downloads — as anyone. Who knows? Maybe she’ll (tor)mentor some kid. Anyway, Madonna had to make a record deal since her famous $120 million Live Nation deal didn’t have a recording component. In February, Madonna will try and combine her terrible “W.E.” movie release with her SuperBowl appearance and a new single called “Masterpiece.” It will be a marketing blitz to kick re-start her music career. Look for a summer/tour fall no doubt. That’s how the real money is generated.

“Mission Impossible Ghost Protocol” May Rescue Hollywood Box Office

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“Mission Impossible: Ghost Protocol” pretty much starts with Tom Cruise uttering these words: “Light the fuse.” That’s when the famous and beloved Lalo Schifrin theme music kicks in. Prior to that, Cruise and his IMF team–the gorgeous and smart Paul Patton, the funny and cocky Simon Pegg–have just pulled off a clever prison break that shows this episode of “MI” is indeed a group effort. Director Brad Bird has wisely moved Tom Cruise’s Ethan Hunt into the team and away from being the preposterous hero. Of course, “MI” is preposterous by its very nature, but regrouping in this way has allowed Bird to make a big commercial hit that is better than all its predecessors, exhilarating, and a spectacular adventure. Then Jeremy Renner joins the team, and everything is ratcheted up a notch.

Don’t be fooled–Cruise is still the star. But his Ethan Hunt is better written, and a lot of more interesting to watch than in prior incarnations. His acts of derring do — like careening off the tallest building in the world, in Dubai–are pretty freakin’ cool. And a piece set in a modern day sand storm may wind up being clipped as a classic in film history. It’s sort of brilliant. But Cruise’s hubris has been scaled back to something resembling human by Bird. And Cruise approves–he’s a producer on the film. To make a transition into his 50s, and away from “Valkyrie” and couch jumping, Cruise had to readjust himself. He’s done it well, I think. This is the first time I can remember being interested in what Ethan Hunt was up to. That’s saying a lot.

This has been such a disappointing year for well executed big studio action films. And in Oscar season, all we see are arthouse and indie films. So I was actually happy to point out product placements–Dell, BMW, Canon cameras. It was like seeing old friends. Of course, “MI” does flag at one point, gets a little muddled and talky. But that’s to be expected in the second act. When the third act revs up, you’re guaranteed a good time, and a surprise ending with the return of a couple welcome franchise characters.

The IMF team is excellent. In this episode, they’re fingered for allowing the Kremlin to be blown up. They’re disavowed and must re-establish themselves. The team is well executed. Patton is just a huge hit. Pegg is solid as comic relief–and he gets his share of action. Renner looks like  he’s being groomed to pick up where Ethan leaves off. Indeed, by the end, Renner’s secret agent gets the big set piece–floating in mid air in a tunnel– while Cruise’s hunt is supervising.

For once the hype matches the experience. Brad Bird makes a wonderful transition to live action from his highly successful animation career. Tom Cruise, whom I’ve criticized a lot in the past for crazy or bad behavior, returns triumphantly to what he does best. You can’t ask for more than that. Paramount’s Brad Grey wins big points for bringing Cruise back after Sumner Redstone fired him five years ago. “Ghost Protocol” may be what saves the box office from its current slump.

 

Rooney Mara “Astonishing” in American “Dragon Tattoo”

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I know the fans of “The Girl with the Dragon Tattoo” are waiting on tenterhooks for news about David Fincher’s American remake. So let’s get to it: I think Rooney Mara is so astonishing as Lisbeth Salander, the story’s punk heroine, that she should be nominated for Best Actress. I know Rooney from “Tanner Hall,” a film about a girl’s school, and obviously from “The Social Network.” To see now as Lisbeth is just reeling. In a year of big breakthroughs for young actresses–Lizzie Olsen, Felicity Jones–Rooney’s turn is just sensational. It’s worth seeing the film just for her.

Fincher’s film is stylish, dark and brooding. It’s like all his films–very well made, cool, a little superficial. But it’s cast very well throughout. Daniel Craig, who never gets credit for acting, is very good. It’s a pleasure to see Joely Richardson as one of the Vanger sisters–well, the key one, I suppose. Robin Wright turns in another well rounded performance. Christopher Plummer, Stellan Skarsgard, and Stephen Berkoff are top notch.

The new film is almost a scene by scene re-enactment of the original with one caveat: it has a different ending than the Swedish film or the Stieg Larsson novel. I don’t know if that will make a difference to the rabid fans all over the world. It shouldn’t. Not being wedded to any of it, I thought the movie was highly enjoyable, and a good thriller. Oddly, it’s not being talked about much for awards season. This may be because it came in so late. But Mara is a revelation, and not one to be ignored. Her performance notches her up among the really cool kids getting the best jobs. I just hope those eyebrows grow back in.

Sony has had a great little Oscar season, by the way, with “Moneyball” and “The Ides of March” as well as “Tattoo.” It shows that a big studio can do movies of style and substance.

The Artist, Scorsese’s “Hugo” Lead Critics Choice Nominations

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“The Artist” and Martin Scorsese’s “Hugo” are among the top picks for the Critics Choice Awards (VH-1, January 12th). This is the first televised awards show of the season, and the one comprising actual movie critics. It’s also a major precursor of the Oscars. A couple of films are really left out in the cold: “The Girl with the Dragon Tattoo”–which was shown very late, and “Albert Nobbs,” for which Glenn Close deserves a nomination. But there’s no campaign and no money behind “Albert Nobbs,” which is a shame.

BEST PICTURE The Artist The Descendants Drive Extremely Loud & Incredibly Close The Help Hugo Midnight in Paris Moneyball The Tree of Life War Horse BEST ACTOR George Clooney – “The Descendants” Leonardo DiCaprio – “J. Edgar” Jean Dujardin – “The Artist” Michael Fassbender – “Shame” Ryan Gosling – “Drive” Brad Pitt – “Moneyball” BEST ACTRESS Viola Davis – “The Help” Elizabeth Olsen – “Martha Marcy May Marlene” Meryl Streep – “The Iron Lady” Tilda Swinton – “We Need to Talk About Kevin” Charlize Theron – “Young Adult” Michelle Williams – “My Week With Marilyn” BEST SUPPORTING ACTOR Kenneth Branagh – “My Week With Marilyn” Albert Brooks – “Drive” Nick Nolte – “Warrior” Patton Oswalt – “Young Adult” Christopher Plummer – “Beginners” Andrew Serkis – “Rise of the Planet of the Apes” BEST SUPPORTING ACTRESS Berenice Bejo – “The Artist” Jessica Chastain – “The Help” Melissa McCarthy – “Bridesmaids” Carey Mulligan – “Shame” Octavia Spencer – “The Help” Shailene Woodley – “The Descendants” BEST YOUNG ACTOR/ACTRESS Asa Butterfield – “Hugo” Elle Fanning – “Super 8” Thomas Horn – “Extremely Loud & Incredibly Close” Ezra Miller – “We Need to Talk About Kevin” Saoirse Ronan – “Hanna” Shailene Woodley – “The Descendants” BEST ACTING ENSEMBLE The Artist Bridesmaids The Descendants The Help The Ides of March BEST DIRECTOR Stephen Daldry – “Extremely Loud & Incredibly Close” Michel Hazanavicius – “The Artist” Alexander Payne – “The Descendants” Nicolas Winding Refn – “Drive” Martin Scorsese – “Hugo” Steven Spielberg – “War Horse” BEST ORIGINAL SCREENPLAY “The Artist” – Michel Hazanavicius “50/50” – Will Reiser “Midnight in Paris” – Woody Allen “Win Win” – Screenplay by Tom McCarthy, Story by Tom McCarthy & Joe Tiboni “Young Adult” – Diablo Cody BEST ADAPTED SCREENPLAY “The Descendants” – Alexander Payne and Nat Faxon & Jim Rash “Extremely Loud & Incredibly Close” – Eric Roth “The Help” – Tate Taylor “Hugo” – John Logan “Moneyball” – Steven Zaillian and Aaron Sorkin, Story by Stan Chervin BEST CINEMATOGRAPHY “The Artist” – Guillaume Schiffman “Drive” – Newton Thomas Sigel “Hugo” – Robert Richardson “The Tree of Life” – Emmanuel Lubezki “War Horse” – Janusz Kaminski BEST ART DIRECTION “The Artist” – Production Designer: Laurence Bennett, Art Director: Gregory S. Hooper “Harry Potter and the Deathly Hallows Part 2” – Production Designer: Stuart Craig, Set Decorator: Stephenie McMillan “Hugo” – Production Designer: Dante Ferretti, Set Decorator: Francesca Lo Schiavo “The Tree of Life” – Production Designer: Jack Fisk, Art Director: David Crank “War Horse” – Production Designer: Rick Carter, Set Decorator: Lee Sandales BEST EDITING “The Artist” – Michel Hazanavicius and Anne-Sophie Bion “Drive” – Matthew Newman “The Girl With the Dragon Tattoo” – Kirk Baxter and Angus Wall “Hugo” – Thelma Schoonmaker “War Horse” – Michael Kahn BEST COSTUME DESIGN “The Artist” – Mark Bridges “The Help” – Sharen Davis “Hugo” – Sandy Powell “Jane Eyre” – Michael O’Connor “My Week With Marilyn” – Jill Taylor BEST MAKEUP Albert Nobbs Harry Potter and the Deathly Hallows Part 2 The Iron Lady J. Edgar My Week With Marilyn BEST VISUAL EFFECTS Harry Potter and the Deathly Hallows Part 2 Hugo Rise of the Planet of the Apes Super 8 The Tree of Life BEST SOUND Harry Potter and the Deathly Hallows Part 2 Hugo Super 8 The Tree of Life War Horse BEST ANIMATED FEATURE The Adventures of Tintin Arthur Christmas Kung Fu Panda 2 Puss in Boots Rango BEST ACTION MOVIE Drive Fast Five Hanna Rise of the Planet of the Apes Super 8 BEST COMEDY Bridesmaids Crazy, Stupid, Love Horrible Bosses Midnight in Paris The Muppets BEST FOREIGN LANGUAGE FILM In Darkness Le Havre A Separation The Skin I Live In Where Do We Go Now BEST DOCUMENTARY FEATURE Buck Cave of Forgotten Dreams George Harrison: Living in the Material World Page One: Inside the New York Times Project Nim Undefeated BEST SONG “Hello Hello” – performed by Elton John and Lady Gaga/written by Elton John and Bernie Taupin – Gnomeo & Juliet “Life’s a Happy Song” – performed by Jason Segel, Amy Adams and Walter/written by Bret McKenzie – The Muppets “The Living Proof” – performed by Mary J. Blige/written by Mary J. Blige, Thomas Newman and Harvey Mason, Jr. – The Help “Man or Muppet” – performed by Jason Segel and Walter/written by Bret McKenzie – The Muppets “Pictures in My Head” – performed by Kermit and the Muppets/written by Jeannie Lurie, Aris Archontis and Chen Neeman – The Muppets BEST SCORE “The Artist” – Ludovic Bource “Drive” – Cliff Martinez “The Girl With the Dragon Tattoo” – Trent Reznor & Atticus Ross “Hugo” – Howard Shore “War Horse” – John Williams

Hey Lady! Jerry Lewis Gets the Star Treatment in Hollywood

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First of all: the legendary comedian Phyllis Diller is alive and well in L.A. Phyllis, New York misses you. Second, Phyllis showed up the other night for a tribute to Jerry Lewis put together by Starz channel President and CEO Chris Albrecht.The occasion was Gregg Barson’s documentary, “Jerry Lewis: Method to the Madness,” which premieres on Starz Encore on December 17th at 8pm. Good for someone for making a film about Jerry. And a good one. The revered comedian and filmmaker had to take it on the chin this fall when the Muscular Dystrophy Association turned on him. But Jerry Lewis is an icon. Our LEAH SYDNEY reports from LA that a bunch of stars turned out for Jerry including Diller, Woody Harrelson, John Landis, Richard Lewis, Norm Crosby, Carl Reiner, former David Letterman producer Bob “Morty” Morton, and Dane Cook.

After the film screened Jerry said, “Thank you for sharing my life with me.  It’s amazing to sit there and to watch what you’ve done.  I was introduced to this filmmaker almost four years ago.  This film took 3 1/2 years to make.  I usually take a lot of credit for the work I’ve done, but I can’t do that ,it’s Gregg’s deal and it’s unlike anything I’ve ever seen before.  People used to go to a Jerry Lewis movie, adults didn’t understand it at the beginning. Then children helped them understand it ultimately.  God bless children.  Ok that’s it for the nice stuff. I’m going to Pink’s, have two hot dogs, go to the hotel, lie down and pray for Alka Seltzer.”

Featured in the film are Eddie Murphy, Steven Spielberg, Jerry Seinfeld, Woody Harrelson, Billy Crystal,  Alec Baldwin, Chevy Chase, Quentin Tarantino, Richard Belzer, Richard Lewis, Carl Reiner, John Landis, Carol Burnett. At the event Albrecht introduced the film by saying, “Would anyone who is Jewish and involved in comedy please find a seat?”  Then there was literally no one standing to the roar of the crowd.  Jerry cracked up loudly.

So why doesn’t Jerry, who finally got an honorary Oscar, not have a Kennedy Center award? Director Barson told Leah: “It’s ridiculous.  Jerry thinks it’s because he does lowbrow comedy. And they’re upper echelon and snobby.  But if you think about it Jerry is highbrow. As Jerry Seinfeld said in the movie, ‘How does he come up with this stuff if you’re not highbrow?  You have to be a genius, you have to be highbrow. ‘ As Seinfeld says, ‘Noel Coward and Jerry Lewis are equals.'”

Barson noted it’s ironic since Jerry was close friends with the Kennedys back in the Rat Pack days. His work with MDA and the Kennedy-Shriver family’s Special Olympics have a lot of overlaps. But the Kennedys don’t chose the Kennedy Center honorees. That’s up to producer George Stevens.

At the party, by the way, Jeff Goldblum entertained the crowd playing the piano, with Jerry scatting along and Woody Harrelson kneeling down to talk to Lewis. Woody–so good in the current “Rampart” that he may net an Oscar nomination– says in the film, “If you’re not a Jerry Lewis fan, I’m not interested in hanging with you.”  Steven Spielberg says in the film, “I still pinch myself because Jerry knows who I am.”

MIA due to scheduling–Jim Carrey, whose debt to Jerry Lewis is like Prince’s to Sly Stone. Barson said he had a scheduling conflict.