Sunday, November 30, 2025
Nathan Lane on Robin Williams . . . The Birdcage
The cameras were still rolling on "The Birdcage" when Robin Williams pulled Nathan Lane aside between takes. Nathan had just finished a particularly tense scene. He was anxious, his timing had faltered slightly, and his usual control felt off. Robin leaned in and whispered, “You were perfect. I just added chaos. That’s what I do.” Nathan smiled, a little caught off guard. Robin’s words didn’t come like notes from a co-star, but like an arm around the shoulder, silent, kind, and full of permission to breathe.
Filming began in early 1995 at Miami’s Cardozo Hotel and soundstages in Los Angeles. "The Birdcage", directed by Mike Nichols, was a comedy built on flamboyance and theatrical flair, yet layered with emotional vulnerability. On screen, Robin played Armand Goldman, a gay cabaret owner trying to pass for conservative straight to please his son's fiancée's parents. Nathan Lane, as the exuberant Albert, Armand’s partner and drag performer, brought flamboyant wit mixed with aching sensitivity. Their chemistry lit up the film, but it was their off-screen connection that gave the performance its emotional core.
Robin walked onto set carrying more than just scripts. Behind his trademark improvisation was the quiet grief of personal losses and ongoing mental health struggles. He was navigating emotional pain with humor as his lifeline. Nathan, on the other hand, was living with a deep fear. He hadn’t come out publicly and lived in quiet dread that the spotlight could expose what he wasn’t yet ready to share. He later said in interviews that the fear was constant during production. But when Robin stood next to him, that fear softened.
Crew members often recalled moments between takes when Robin would launch into absurd improv routines, not for the camera but for Nathan. A sound technician once described how Robin stood on a table and did a full Shakespearean monologue in the voice of Elmer Fudd, simply because Nathan had flubbed a line and looked close to tears. That single moment broke the tension, made the whole room laugh, and brought Nathan back into himself. These weren’t just jokes. They were quiet acts of care.
Nathan’s attention to detail and his need for control came from years of hiding his authentic self in plain sight. Robin never asked him about it directly. He didn’t need to. Instead, he listened, showed up, and created a space where Nathan could feel seen without explanation. Their late-night conversations, often taking place over coffee in the makeup trailer or walks around the studio lot, were filled with stories, insecurities, and mutual admiration. Nathan once said, “Robin had this way of making you feel like you were the only person in the room. And then he’d make the whole room laugh, and you’d wonder how one person could hold that much light.”
Filming wrapped with both men knowing they had done something more than act. They had held each other up. And in a Hollywood that could often feel isolating, especially for queer actors, Nathan walked away with more than a role. He had found someone who understood the weight of performance, not just for the screen but for survival.
When Robin passed in 2014, Nathan’s tribute came with no flourish, no long stories. Just a handful of sentences, quietly powerful. “He saved me in ways I didn’t even understand until he was gone. Working with him felt like being wrapped in a blanket, warm, chaotic, and comforting.”
What began as two actors cast in a comedy became something infinitely deeper. In a set filled with lights and laughter, two men found a private place of trust where grief, fear, and joy were shared quietly, wordlessly, and without condition.
Also:
Strange Things Will Blow Your MindOn the first week of filming "The Birdcage" in 1995, Robin Williams arrived on set with a box of donuts and a rubber chicken tucked under his arm. Nathan Lane, pacing near his trailer in quiet nervousness, looked up and laughed. That moment would mark the beginning of a creative and emotional connection that ran deeper than the outrageous comedy they were about to bring to life.
The chemistry between them onscreen was undeniable, but it was off-camera where their bond quietly bloomed. Robin had an instinct for sensing unease in others, and he noticed Nathan’s hesitations early. Nathan was entering one of the biggest roles of his career, and beneath his brilliant timing lay a complicated mix of anxiety and a fear of exposure. The film’s subject matter, a gay couple navigating family and identity, felt achingly personal. Nathan was not publicly out at the time, and he carried that weight into each rehearsal, each line.
Robin never pried, never pushed. Instead, he made it his mission to bring levity into Nathan’s moments of tension. During scenes that demanded intricate timing, Robin would shift into impromptu impressions or whisper absurd phrases under his breath between takes, coaxing Nathan out of his head and into the joy of the moment. One crewmember recalled a scene where Nathan was visibly shaking. “Robin just started riffing on a Yiddish drag queen from Boca Raton. The whole set cracked up, but it was really for Nathan. And it worked.”
Their artistic rhythms complemented each other. Nathan, meticulous in preparation, found safety in structure. Robin thrived on unpredictability, breathing spontaneity into every interaction. Instead of clashing, their differences became the current that energized the film. Director Mike Nichols once said that watching the two of them together felt like seeing two very different dancers find a shared beat. The tension never cancelled the harmony, it enhanced it.
During off-hours, their friendship deepened. After late-night shoots, Robin would sometimes knock on Nathan’s door with a bag of fast food and no agenda. They talked about comedy, theater, and the masks that performers wear when the lights go off. Nathan later described those conversations as moments that gave him “permission to breathe.” There were no confessions, no dramatic revelations. Robin had an uncanny ability to listen with humor and stillness, offering space without judgment.
Robin himself was carrying silent burdens. The laughter he generated for millions often covered his own shadows. But with Nathan, there was no need to perform. Their quiet understanding became a soft place for both men to land during a project that, while comedic on the surface, dealt with identity, vulnerability, and the complexities of love.
When the film premiered, their performances earned praise, but the emotional weight they carried never made headlines. Years later, Nathan would reflect on those days not as a chapter in his career but as a chapter in his emotional survival. “Robin’s presence was like a blanket, warm, chaotic, and comforting,” he said. “He had this rare ability to make you feel like you belonged, even when you were convinced you didn’t.”
After Robin’s passing in 2014, Nathan offered a quiet tribute. In an interview, his voice trembled as he said, “He saved me in ways I didn’t even understand until he was gone.” That sentence carried the truth of their friendship, a connection built in unspoken gestures, absurd laughter, and the rare comfort of being truly seen.
The story of "The Birdcage" is not only one of campy brilliance and sharp satire, but of two souls, each wrestling with their own truths, holding each other steady in the disguise of comedy.
Hope Sandoval & The Warm Inventions - Blanchard [Through The Devil Softly] | Herberg De Kelder
HERBERG DE KELDER
formerly Le Ramasseur De Mégots
Hope Sandoval (Mazzy Star) (1993) © Laura Levine
ADVERT BREAK : VIC REEVES goes into Perfumery
. . . or is that perflumery? With CHRISTMAS around the corner what to buy the man and laydee in your life ? Why some adult perfume!! It’s Jim everybody . . .didn’t you recognise him! He is selling Christmas perfumes!
Jim’s bottled up a new batch of mischief — Perfume Originals.From X Rated Rhythm to Old West Orgy, these scents-on-paper are just as wild as they sound.Watercolour originals, 5 ¾ x 8 ¼ inches.Available now at JimMoir.com
Saturday, November 29, 2025
Robert Plant - It's a Beautiful Day Today (Album Version) SAVING GRACE | Nonesuch Records
The Album version to close the day . . . . . .
Robert Plant and Saving Grace perform "It's a Beautiful Day Today," from the album 'Saving Grace,' out now on Nonesuch Records: https://robertplant.lnk.to/savinggrace
Remembering George Harrison February 25, 1943 - November 29, 2001
Remembering George HarrisonFebruary 25, 1943 - November 29, 2001
“George was a giant, a great great soul w/all of the humanity
all of the wit & humour ~ all of the wisdom ~ the spirituality ~
the common sense of a man & compassion for people.
He inspired love & had the strength of a hundred men.
He was like the sun, the flowers & the moon & we will miss him enormously.
The world is a profoundly emptier place without him.”
Bob Dylan
Unable to make a tribute concert dedicated to Harrison in 2002, Dylan sang his own version of George’s Abbey Road contribution ‘Something’ to a New York audience.
“I just want to do this song for George,” he told those present, “because we were such good buddies.”
Bob Dylan - ‘Something’ NY 2002
"The Concert for George" was a tribute to George Harrison, held one year after his passing on November 29, 2002, at London's Royal Albert Hall. Unable to attend, Dylan instead performed "Something" in Harrison's honor as a special, extra third encore at his show on November 13, 2002 at New York's Madison Square Garden. In an emotional voice Dylan told the audience, "There’s a tribute going on, I guess it’s next week or the week after, it’s over in England, for George Harrison. And, you know there’s all kinds of people going over there, I’m not sure who. But we can’t make it, and that’s why I'm going to do this song now in remembrance of George, because we were such good buddies." The soft tones of Dylan's tender introduction are replaced by an enthusiastic roar of recognition from the crowd immediately upon hearing the song's first two or three unmistakable notes. It seemed like a special moment for the musicians and the audience, with Charlie Sexton pouring himself into his guitar solo at Bob's prompt, Larry Campbell providing gorgeous backing on mandolin, and Dylan clearly moved and highly emotional throughout. That mood continuing through the musicians' several moments standing at the front of the stage taking in and acknowledging the crowd's long rounds of applause, loud cheers, and whoops of appreciation before the lights went down the final time. This performance of "Something" from 2002 was the first video posted here and is still the most heavily viewed of all of them, by several orders of magnitude. The original was encoded in DVD format by my late husband Jon in 2003 along with a few other sample clips that married my videos with his DAT audios, to share with a few friends. This new version has been upgraded to 4K, offering much improved video quality, and I've re-synced and remastered the accompanying DAT audio track to make Dylan's introduction more clearly audible and, at least I hope, to also improve the sound on the clip in general. Thanks to a new, second PC I finally acquired a few weeks ago that is an actual fully decked out, kickass-quality, professional digital video workstation, I'll now be able to produce many more videos with 4K resolution, and prepare new clips for upload much faster than before. It wil also allow me to step up the pace on the larger project of digitizing and sharing some of the volumes of other musical material from the "Casper Audio and Video Music Archive" - including more from Dylan as well other musicians.
George - If Not For You [Bob Dylan 30th Anniversary ]
Russia buys Brexit!
“£8.4 million — it was the biggest ever political donation in British history, and made by an insurance salesman made uneasy by immigration and who opposed Britain’s membership of the European Union. Arron Banks gave this enormous sum of money to the 2016 Brexit campaign.
If that money came direct from Banks’s bank account, then it was perfectly legal. (Perhaps unbelievably Banks has not been found to have breached electoral law). Foreign donations to elections and referendum campaigns have to be declared and identified. One of the biggest failures of the 1997 Labour government was not to adopt clear laws limiting political donations. Britain failed to ban donations by rich individuals or rich trade unions who want to buy influence.
Instead money continues to flow into political parties from the super rich, in exchange for access, peerages, and contracts.
Banks’s close associations with the Russian government are not disputed. His own published accounts of his involvement in the Brexit campaign recorded meetings with the Russian ambassador Alexander Yakovenko, a close Putin associate.”
thearticle.exchange"
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