Adam Sandler doesn’t want to be taken seriously

Film critics hate Adam Sandler and Adam Sandler retaliates. It’s been like this since 1995, the year of publication BillyMadison, his first film and his first success as a protagonist. “If you’ve ever had a desire to relive third grade, this film is the closest thing to it,” wrote Janet Maslin New York Times in one of the more sympathetic reviews of the film. Roger Ebert said that Sandler’s stage presence “evoked the sound of fingernails crawling on the panel”. During the advertising campaign of BillyMadisonSandler had granted one of the very rare “real” interviews (chats between friends on the various late nights don’t count) of his career: a magazine had asked him for a portrait and he had agreed, with the enthusiasm that only those who are there possibly making it to the top of the US box office. After reading reviews from BillyMadison, Sandler will have no relationship with the press for the next 37 films and 25 years. Only in 2019 does he give the journalist category a second chance: it is the year of publication rough diamonds of brothers Safdie and Sandler, Jamie gives Lauren Keiles a few days of her time to create a stunning portrait for them Magazine of the New York Times entitled “Adam Sandler’s Eternal Schtick”. Sandler knows everyone in Hollywood — for some reason, he never misses an opportunity to let people know he saved Al Pacino’s number in the column — and all of Hollywood knows him. He seems to be a loyal man and above all has a good memory: the reviews of BillyMadison he never forgot her. The interview with the Times it was indeed his front row seat to the spectacle of his own redemption.

rough diamonds is the movie that gets critics and audiences discovering the talent of the actor, and everyone wonders why a man who can play Howard Ratner wasted his career on Billy Madison and all those other boy kids. Apparently Sandler hates that question. One of the things he is most proud of is his laziness – he is too lazy to try to please more and more people. “I’m happy with the films I’ve made,” he keeps repeating. Many say they don’t understand Sandler’s comedy. Many make a fundamental mistake: They look for his comedy in his films. Proof that Sandler is a funny man is in the way he talks about his films Outside of the same: His few “serious” public statements are a kind of satirical booklet about Hollywood and the industry that made him a billionaire. Even after that The Meyerowitz Storiesafter rough diamondsafter Hurry (his last film, recently released on Netflix and, according to Rotten Tomatoes freshness percentages, was appreciated by both critics and audiences like no other in his career), he continues that the film he best made, is big dad – A special father. There? “Why does Leslie (husband, wife of Judd Apatow, friend of Sandler’s since they were both twenty) edit) and it’s the first where my wife is also there ». When asked if there really isn’t another title in his filmography that he would recommend, Sandler replies: “One of the ones where I’m thinner. When I watch them with my daughter, at a certain point I turn down the volume and say to her: “You see, dad used to be skinny” ».

He says he’s never read the reviews of your movies, Sandler. But his public persona looks like a Frankenstein built from scraps of the worst articles written about him in the last thirty years. In his review of Sandy Wexler for the New Yorker, Richard Brody wrote that Sandler is “a very talented actor who has become a victim of his own success, leading him to act in dead comedies directed by directors with very little inspiration”. Now that people like Brody are finally taking him seriously, the critic wrote a flattering review Hurry highlighting Sandler’s talent for playing characters like Stanley Sugarman, NBA scout who plays basketball like jeweler Howard Ratner on Black Opal – Sandler keeps repeating that he thinks his best interpretation is the one in which it was made funny people. He deserved the Oscar, he says, before repeating that he “didn’t really think about it” at the academy, but that winning a statuette for a film like this and a role like that would have been great. Now that they’re talking seriously about nominations, Sandler never misses an opportunity to remind himself that it’s not like he used to do selection to become a dramatic actor. According to him, the parties to be included ultimately decide somewhat arbitrarily: Mr Cobbler and the Magic Shop, for example he decided to do it while stationary in bed with a bad shoulder. “I was high on painkillers and I loved the story.” And then, Sandler says, the academy couldn’t think of nominating someone whose acting credentials are Derek and Clive, and most importantly, Benny Hill. Actually, there would also be Dan Aykroyd, but the dismissal is over Saturday night live 1995 still burns and he doesn’t like to talk about those years, even when it comes to the man he considers his mentor.

There are people who say that Sandler made the career he did because he’s more of a businessman than an actor. She chose her films knowing that money is made from the things people watch “when they come home from work tired, or when they’re high, or when they’re thirteen”. He would learn that lesson when he first performed at a comedy club, which he only agreed to do to keep his brother happy, as he kept telling him his future was comedy. He hadn’t prepared anything for this debut, not a monologue, not even a line. “What are the other comedians talking about?” he asked his brother on the drive to the club. The performance was a disaster, but Sandler kept coming back to this comedy club until he realized what he was doing wrong: he was trying to make people laugh. he thought how to laugh, which separates the beats into setup and punchline, and bases the laugh on the relationship between these two parts. It was at this point that he decided to spend the rest of his career making people laugh who were too tired or stoned or thirteen to think.

What he didn’t like about the comedy club was the distribution of revenue, which is why he plans to start his own production company when the opportunity arises. In 1995, Amy Pascal, Sony executive, offered him this opportunity and he founded Happy Madison Productions. The agreement between the parties provides that Sandler will earn twenty million dollars per film, or a percentage of the earnings of the titles he produces. Between 1999 and 2011, only one of his films grossed less than 100 million. With a commercial intuition rivaled only by George Lucas, Sandler is also one of the first in Hollywood to foresee the transformation that streaming platforms will impose on cinema as an industry sector. It’s the first A-list actor Signing a deal with Netflix: $350 million in exchange for what CEO Ted Sarandos called the “infinitely loopable comedy” that lends itself so well to streaming consumption. Again, Sandler turns his career into a joke. From the agreement with Netflix, in fact, it is not clear what makes you laugh the most: the fact that he managed to sell two films, how rough diamonds and Hurry People who are convinced they are buying “infinitely repeatable comedy” or the fact that of all the movies made for Netflix so far has done the best numerically, the awful one The Ridiculous Six. Perhaps the best story of his career, his comedy, his success, was written by Adam Sandler himself. A few years ago he was invited to Las Vegas to speak at an event attended by the owners of the largest American film chains. Sandler takes the stage, goes to the microphone and says, “My name is Adam Sandler. I’m not a particularly talented man. I’m not particularly pretty. Still, I’m a billionaire.”

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