by Naomi Pfefferman, jewishjournal.com
“’Schmuck’ is a funny word,” said Michael Handelman, co-screenwriter of “Dinner for Schmucks.”
“It’s one of those very satisfying words to say,” added co-screenwriter David Guion.
The New York-based scribes, both 39, were in Los Angeles recently to discuss “Schmucks,” which opens July 30 and is inspired by Francis Veber’s French-language film, “Le Diner de Cons” (“Dinner for Bloody Idiots”). Directed by Jay Roach, the new film revolves around an ambitious financial analyst, Tim (Paul Rudd) whose promotion hinges on his participating a cruel game: his boss’s “dinner for idiots.” Each guest must invite the stupidest person he can find for an evening of subtle ridicule.
The Journal caught up with Handelman and Guion at the Beverly Hilton Hotel recently, where the longtime writing partners practically completed each others’ sentences. That wasn’t surprising, considering the way they work: They don’t divvy up scenes on a project, but rather write together in one room, on one computer, in their office in New York’s Chinatown.
At the Beverly Hilton, the conversation veered from their respective Midwestern childhoods (Guion hails from Chicago; Handelman from Milwaukee); to meeting each other in a Yale University improvisational troupe; to performing improv together in Manhattan (after Handelman earned a masters in philosophy from the University of Pittsburgh); to penning major Hollywood comedies. The writers also riffed on the nature of Jewish comedy and of course, “Dinner for Schmucks.”
Naomi Pfefferman: “Dinner for Schmucks” must be the first major studio film ever to have the word, “schmuck” in the title—which of course traditionally is a naughty word in Yiddish. How did that come about?
Michael Handelman: Nobody seems to know exactly where the title came from— it was already attached before we came on board. But one thing we’ve talked about is the fact that “schmuck,” at least the way it’s used today, can mean both “idiot” and “jerk.” The double meaning is quite appropriate because in our film, it’s jerks inviting idiots to dinner. So obvious question is, ‘Who are the schmucks?’”
David Guion: I don’t know if it’s ever decided who the real schmucks are. But the film is about questioning these labels that we put on people. We want audiences to be able to see the humanity in these so-called schmucks who are invited to dinner, and particularly in [Steve Carell’s] Barry.
NP: Each of the dinner invitees is considered odd because he or she has a bizarre hobby. Can you cite some of the litany of schmucks you invented for the story?
MH: We did a lot of looking online for people with weird hobbies and actually there really is an international beard champion. So there’s the beard champion.
DG: And the ventriloquist who seems to believe he’s married to his very busty dummy. And the vulture-lover.
MH: And the blind swordsman, played by Chris O’Dowd, who believes he has a shot at the Olympic gold medal. With him the essential thing was that the comedy not come from the fact that he is blind, but from the fact that he is proud.
DG: A guy who is so proud he’s actually blind to his own blindness.
MH: There’s also Madame Nora, the psychic who can speak with dead pets, who then winds up speaking with the lobsters on the dinner table [they’re screaming with pain upon being cooked] and hearing from the vulture’s mother.
NP: Do either of you have hobbies that would qualify you for admittance to such a dinner?
MH: When I was a teenager, a friend of mine and I decided to work at the Renaissance Faire [in the Midwest] for the summer. We were singing gravediggers; we wore tattered pants and blousy shirts and carried around a skull and a coffin.
DG: Mike and I didn’t know each other at the time, but I actually attended that same Renaissance Faire, which probably qualifies me for the idiot’s dinner as well.
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