Last Days of Richard Pryor (2020) - full transcript
>>> YOU KNOW WHAT I LOVE MOST
ABOUT RICHARD PRYOR?
>> REBEL. TABOO.
>> FUNNEST PERP ON THE PLANET.
>> UNSENSORED.
>> OH, MY GOD.
>> LEGEND.
>> EVERYTHING.
>> YOU NEVER KNEW WHAT WAS GOING
TO HAPPEN BECAUSE HE WAS RICHARD
PRYOR.
>> DUN DUN DUN.
>>> FOR THE FIRST TIME IN
TELEVISION, RICHARD PRYOR.
>> I'M FROM THE AVERAGE TYPE
FAMILY, ELEVEN KIDS.
NO MOTHER OR FATHER, JUST KIDS.
>> RICHARD WAS BRUTALLY HONEST.
>> I KNOW I'M HARD TO GET ALONG
WITH.
I KNOW THAT BECAUSE I MIGHT WAKE
UP IN THE MORNING AND GO, HEY,
WAKE UP.
WHAT WAS THAT [ BLEEP ] YOU SAID
LAST FEBRUARY?
>> HE CHANGED THE WAY PEOPLE
THOUGHT ABOUT BLACKS, WHITES,
THEMSELVES.
>> THEY CALL IT AN EPIDEMIC NOW.
THAT MEANS WHITE FOLKS ARE DOING
IT.
>> HIS LIFE CHALLENGED THE
STATUS QUO, HIS COMEDY
CHALLENGED THE STATUS QUO.
>> YOU CAN'T EVEN TALK LIKE THAT
NOW.
>> YOU EVER NOTICE HOW NICE
WHITE PEOPLE GET WHEN THERE'S A
BUNK BUNCH OF [ BLEEP ] AROUND?
THEY GET OUTSIDE THEY TALK TO
EVERYBODY. SAY HI, HOW YOU DOING?
I DON'T KNOW YOU BUT HERE'S MY
WIFE. HELLO!
>> HE WAS REPRESENTING A GROUP
OF PEOPLE, AN ERA, A STRUGGLE, A
TIME.
>> I JUST LOVED HIM, IMMEDIATELY
AND IMMENSELY.
>> BEFORE THERE WAS YOUTUBE,
BEFORE THERE WAS DIGITAL, BEFORE
ANY OF THAT, THERE WAS RICHARD
PRYOR.
>> WE WENT, WOW.
AND THEN LIKE A COMET, IT FLAMED
OUT.
>> COMEDIAN RICHARD PRYOR IN A
CRITICAL CONDITION TONIGHT AND
GIVEN LESS THAN A 50/50 CHANCE
SURVIVING AFTER SUFFERING
THIRD‐DEGREE BURNS OVER HALF OF
HIS BODY.
>> HE WAS IN A DRUG PSYCHOSIS.
I WAS THERE.
AND OF COURSE, IT ENDED UP AS A
SUICIDE ATTEMPT.
>> I WOKE UP IN AN AMBULANCE,
RIGHT?
AND IT WASN'T NOTHING BUT WHITE
PEOPLE STARING AT ME.
I SAID AIN'T THIS A BITCH.
I DONE DIED AND WOUND UP IN THE
WRONG [ BLEEP ] HEAVEN.
>> THE FIRST TIME I MET HIM,
I FELL MADLY IN LOVE.
AND WHAT WAS IT THAT I WAS
ATTRACTED TO WAS HIS
VULNERABILITY.
>> SOMETIMES I FEEL LIKE THERE'S
A PERSON, RICHARD PRYOR, AND HE
DOES ALL THIS COMEDY, HE DOES
ALL THIS STUFF, AND THEN THERE'S
ME, AND I WONDER WHAT I HAVE TO
DO WITH RICHARD.
>> IT TAKES A LOT OF COURAGE TO
BE A COMIC.
>> I LIVED IN A NEIGHBORHOOD OF
A LOT WHOREHOUSES, NOT MANY
CANDY STORES OR BANKS, LIQUOR
STORES AND WHORE HOUSES.
>> YOU HAVE TO EXPOSE YOUR SOUL
IN WAYS THAT ARE DANGEROUS TO
YOU, AND NOT EVERYONE SURVIVES.
>> WHEN CRITICS SAY THAT YOU'RE
YOU'RE A GENIUS, DO YOU SAY,
YEP, THAT'S ME?
>> I ALWAYS THINK ABOUT WHAT MY
FATHER CALLED ME.
>> WHAT DID YOUR FATHER CALL
YOU? NOT THAT.
>> DUMB SON OF A BITCH.
BUT THE REALITY OF WHAT I AM HAS
NOTHING TO DO WITH WHAT THEY SAY.
>> HE APPEARS ON THE RUDY VALLEY
SHOW, ON BROADWAY TONIGHT, IT'S
HIS TV DEBUT, AND HE SAYS THAT
HE'S GOING TO TALK ABOUT HIS
LIFE.
>> HE TELLS A COMPLETE STORY
ABOUT HIS FAMILY BACKGROUND AND
WHERE HE COMES FROM.
>> I HAD A WILD NEIGHBORHOOD,
I GOT TO TELL YOU, BECAUSE MY
MOTHER'S PUERTO RICAN, AND MY
FATHER IS A NEGRO, AND WE LIVE
IN A REAL BIG JEWISH TENEMENT
BUILDING, IN AN ITALIAN
NEIGHBORHOOD.
EVERY TIME I GO OUTSIDE THESE
KIDS SAY "GET HIM!
HE'S ALL OF 'EM!"
>> BUT IN FACT HE JUST MAKES UP
AN ALTERNATIVE RICHARD PRYOR.
>> HE WASN'T TO MY KNOWLEDGE
PART PUERTO RICAN.
HE WAS FROM PEORIA, ILLINOIS,
OF FULL AFRICAN DESCENT AND
RAISED BY MESSED UP PEOPLE.
>> AND I THINK ONE REASON HE
DIDN'T TELL PEOPLE THE TRUTH
ABOUT HIS BACKGROUND IS BECAUSE
HE KNEW THEY COULDN'T TAKE IT.
>> THAT WILL BE THE STRUGGLE FOR
HIM IS TO FIGURE OUT A WAY THAT
HE CAN BE A COMEDIAN OR
PERFORMER AND TELL THE TRUTH
ABOUT HIS LIFE.
>> I REMEMBER WHITE PEOPLE USED
TO COME DOWN HERE, DO YOU HAVE
ANY GIRLS THAT COVER YOU WITH
ICE CREAM?
AND LITTLE BOYS THAT LICK IT OFF?
HE WAS THE MAYOR.
>> I HEARD IN THE ALBUMS FIRST,
THAT'S HOW I HEARD IT.
UP UNTIL THAT POINT, THOSE WERE
JOKES.
HE TOLD THE JOKES ABOUT WHORE
HOUSES AND ALL THOSE THINGS.
UNTIL I WENT PEORIA AND ACTUALLY
SEEN IT, AND YOU GO, OH, IT'S
REAL.
>> DECEMBER 1, 1940.
I WAS BORN RICHARD FRANKLIN
LENNOX THOMAS PRYOR III.
I GOT NAMES FROM PIMPS AND
GANGSTERS AND ALL THAT.
BUCK CARTER'S SON.
I COME FROM ROUGH STOCK.
>> IF HELL HAD A ZIPCODE, IN
1940s AMERICA, IT WOULD HAVE
BEEN PEORIA, ILLINOIS.
EVERY VICE KNOWN TO MAN WAS
COMMONPLACE THERE.
>> AND THE REASON THIS IS
IMPORTANT IS BECAUSE THIS IS HOW
HIS GRANDMOTHER CREATES HER
LIVELIHOOD.
>> IS IT TRUE THAT YOUR
GRANDMOTHER RAN A ‐‐ A HOUSE OF
PROSTITUTION?
>> SEVERAL.
ABOUT THREE. WHOREHOUSES.
WHITE FOLKS HAD HOUSES OF
PROSTITUTION.
AND BLACK PEOPLE HAD WHOREHOUSES.
>> SHE WAS THE CHIEF MADAM.
>> SHE WAS THE MADAM, NOT THE
CHIEF MADAM.
>> OKAY, SHE WAS THE MADAM.
>> THERE WERE NO OTHERS.
MY GRANDMA WAS TOUGH.
>> THOSE WERE CALLED FAMILY
BUSINESSES BACK IN THOSE DAYS.
WHOREHOUSES THAT WERE BEING RUN
BY FAMILIES, AND RICHARD WAS
JUST ONE OF THEM.
>> THOSE WERE IN THE DAYS WHEN
THE WOMEN USED TO PECK ON THE
WINDOW WITH QUARTERS.
FOR PEOPLE, CUSTOMERS. HELLO.
HEY, SWEETIE, BABY.
THEY'D BE TALKING THROUGH THE
WINDOW.
NOBODY COULD HEAR THEM ON THE
STREETS.
>> HE GROWS UP AS THE CHILD OF A
PROSTITUTE.
A FATHER WHO'S A PIMP.
THERE'S CRIMINALITY ALL
THROUGHOUT HIS LIFE.
>> I MEAN, THAT WAS A BROTHEL
WHERE HE WATCHED WHITE MEN COME
AND KNOCK ON THE DOOR.
"HELLO, IS YOUR MOTHER HOME?"
>> ON ONE OF HIS ALBUMS HE SAID,
THE LIPS THAT KISSED HIM GOOD
NIGHT HAD JUST PERFORMED ORAL
SEX ON SOMEBODY.
>> I COULD HAVE BEEN PREJUDICED.
I COULD HAVE BEEN PREJUDICED.
I COULD HAVE BEEN, MAN, BUT I
MET NICE WHITE MEN.
HELLO, LITTLE BOY, IS YOUR
MOTHER HOME?
I'D LIKE A [ BLEEP ].
>> IF YOU HAVE TO TELL SOMEONE
STRAIGHT WHAT YOUR CHILDHOOD WAS
LIKE, DESCRIBE IT.
>> IT WAS HELL.
BECAUSE I HAD NOBODY TO TALK TO.
I WAS A CHILD, ALL RIGHT, AND I
GREW UP SEEING MY MOTHER GOING
TO ROOMS WITH MEN AND MY AUNTIES
GOING TO ROOMS WITH MEN, YOU
UNDERSTAND?
WHEN I PEEKED THROUGH THE
KEYHOLES AND I PEEKED OVER THE
TRANSIT, BUT I NEVER UNDERSTOOD
IT UNTIL THIS DAY.
AND IT MESSED ME UP.
>> RICHARD FOUND OUT WHERE A LOT
OF THE RAGE AND PAIN CAME FROM,
AND IT WAS PEORIA.
>> TO NOT TOTALLY DECAY AND BE
FULL OF HATRED WITH THOSE
EXPERIENCES AND TO TURN IT INTO
COMEDY, THERE'S JUST A GENIUS
THERE.
THERE'S A GENIUS INSIDE THE
LITTLE MOTOR CONTROL THAT YOU'VE
SEEN IN CARTOONS WITH THIS WHOLE
CREW INSIDE A PERSON'S BRAIN.
>> THROUGH THE FORCE OF HIS
IMAGINATION AND THE FORCE OF HIS
WILL, HE MAKES A WORLD FOR
HIMSELF.
>> WHO IS CHARLIE EGGER?
>> CHARLIE EGGY.
>> CHARLIE EGGY.
>> THAT'S MY MAGIC FRIEND.
I MADE HIM UP.
WE USED TO PLAY TOGETHER.
SEE, I AM THE SECRET PRINCE.
MY MOTHER IS QUEEN U, AND MY
FATHER IS KING WHO.
MY FATHER LIVE ON LILY PAD WITH
A FROG NAMED JIPPIDY‐DOO.
SO THAT'S WHAT YOU GET WHEN
YOU'RE THE SECRET PRINCE.
YOU HAVE TO BE MAGIC.
AND YOU PUT MAGIC DUST ON PEOPLE.
>> DO YOU PUT MAGIC DUST ON
PEOPLE?
>> YES, MA'AM.
>> ARE YOU MAGIC?
>> I'M MAGIC. I'M MAGIC.
>> WHO BELIEVED IN YOU?
WHO CARED ABOUT YOU?
>> RICHARD FRANKLIN LENNOX
THOMAS PRYOR III.
>> YOU.
>> AND MAGIC DUST.
>> I WAS IN THE FRONT YARD YOU
KNOW, AND ALL THE FAMILY WAS
SITTING ON THE PORCH AND THERE
WAS SOME DOG POOPOO IN THE FRONT
YARD.
AND I SLIPPED AND FELL IN IT.
>> BIG SCREAM, HUH?
>> AND THEY STARTED LAUGHING SO
I GOT UP AND FELL IN IT AGAIN.
>> FIRST RULE OF COMEDY, YES.
>> YOU'RE NOT GONNA GET ON THE
ED SULLIVAN SHOW TALKING ABOUT
DRUG USE, SO HOW YOU DO IT?
>> NOAH?
>> HE DIDN'T WANT TO BE A BILL
COSBY, AND YET HE COULD DO BILL
COSBY IN A SECOND IF HE WANTED
TO.
>> WHAT ARE YOU DOING, NOAH?
YOU GOING TO BUILD A ARK IN?
>>> RICHARD PRYOR GROWING UP IN
PEORIA, WHO WAS 90% WHITE,
HE BEGINS BY GOING TO THE MOVIES
AND BEING ENTRANCED BY
JERRY LEWIS AND MOVIES LIKE
"SAILOR BEWARE."
>> YOU BETTER WATCH WHAT YOU'RE
DOING.
>> STOP THE HEAD, AL, STOP THE
HEAD.
>> I DON'T LIKE IT HERE.
I'M GONNA QUIT.
>> "SAILOR BEWARE" WAS THE
MOVIE.
THERE WAS 300 KIDS WHEN WE LEFT
THE THEATRE GOING ‐‐
>> I'M LIKE WATCHING CARTOON
AFTER CARTOON AND THINKING "HOW
CAN I IMITATE THESE CARTOONISH
EXPRESSIONS ON MY FACE?"
>> I THINK HE LOOKED AT
TELEVISION AND FILMS DIFFERENT
THAN OTHER CHILDREN DID.
BECAUSE IN HIS EARLY STAGES,
HIS VOICES, HIS CHARACTERS,
THEY WERE FROM TV.
>> SO THAT'S THE COMEDY THAT HE
LOVES.
IT TENDS TO BE PRETTY ZANY,
HIGHLY PHYSICAL AND ANTIC.
>> DID YOU KNOW WHAT YOU WERE
GOING TO BE?
>> YEAH.
I WAS GOING TO BE RICHARD PRYOR.
DUN DUN DUN! I KNEW THAT.
SOMETHING IN ME.
>> DID YOU KNOW IT WAS GOING TO
BE SHOW BUSINESS?
>> YEAH.
I KNEW SHOW BUSINESS EVEN BEFORE
THAT.
>> I ASKED HIM, "WHEN DID YOU
FIRST FIND OUT YOU WERE FUNNY?"
AND HE SAID, WHEN I WAS 4.
>> WELL, IN THE EARLY '60s WHEN
RICHARD DECIDES HE WANTS TO
BECOME A COMIC, IT'S VERY KIND
OF FORMALIZED, RIGHT.
YOU HAVE THE KIND OF RAT PACK
WORLD.
YOU HAVE STANDUP COMICS HAVE A
CERTAIN VARIETY.
IT'S A LOT OF GAGS.
>> AT THAT TIME IT WAS STILL THE
ALAN KINGS, THE HENNY YOUNGMANS,
ROWAN AND MARTINS, THOSE KIND OF
GUYS LIKE THAT.
>> YOU NEVER DID MEET MY
DAUGHTER, DID YOU?
FERN, THIS IS DAN.
DANK THIS IS FERN.
>> BLACK PEOPLE WEREN'T ON
TELEVISION, AND IF THEY WERE,
UM, THEY WERE USUALLY TRAPPED
IN THIS WHITE VERSION OF BLACK
AMERICA.
>> THE WORLD THAT RICHARD PRYOR
WAS COMING UP IN AS A COMEDIAN
WAS THE WORLD OF ED SULLIVAN,
WHITE GUYS IN SUITS, RIGHT?
>> YOU HAVE A KIND OF
MONOCULTURE AND LIKE ONE PATH TO
TAKE.
>> RICHARD PRYOR CAME UP AT A
TIME WHERE WHOEVER THE BLACK MAN
WAS, ESPECIALLY BACK IN THE DAY
THERE WAS ONLY ONE ALLOWED, AND
THAT WAS BILL COSBY AT THE TIME.
>> BILL COSBY WAS A
COLLEGE‐EDUCATED
AFRICAN‐AMERICAN MAN.
HE WAS SOMEONE THAT WHITE
AUDIENCES AT THAT TIME IN THE
EARLY 1960s COULD ACCEPT.
HE DID COMEDY THAT HAD SOME
RACIAL ELEMENTS TO IT, BUT IT
WASN'T VERY CONFRONTATIONAL.
IT WAS ABOUT FAMILIES.
PEOPLE COULD RELATE TO IT NO
MATTER WHERE THEY HAD GROWN UP.
>> AND I LOOKED AT MY FACE IN
THE MIRROR, AND I SEE LITTLE
TINY HAIRS GROWING OUT OF MY
FACE.
>> AND HE'S LIKE, I CAN DO THAT.
I CAN DO THAT.
AND HE TRIED DO THAT.
>> COSBY WASN'T THREATENING.
COSBY WAS LIKE THE KIND OF GUY
THAT WHITE PEOPLE SAID, "NOW,
WHY CAN'T YOU ALL BE LIKE THIS?
THIS IS A GUY."
>> HE SEES BILL COSBY AND HE
THINKS VERY CLEARLY, "I WANT
A CHUNK OF THAT."
AND HE IS SUCH A GOOD
IMPRESSIONIST THAT HE BASICALLY
BECOMES A VERSION OF BILL COSBY.
>> NOAH. WHO IS THAT?
IT'S THE LORD, NOAH.
>> WHAT ARE YOU DOING, NOAH?
YOU'RE GONNA BUILD AN ARK?
IT'S GONNA RAIN 40 DAYS AND
40 NIGHTS?
THAT'S THE SILLIEST THING I
EVER ‐‐
>> COSBY, HE TALKED ABOUT COSBY
ALL THE TIME AND HOW COOL COSBY
WAS.
>> WE USED TO IDOLIZE
BILL COSBY.
>> YEAH.
>> WE USED TO GO SEE HIM.
HE WAS HOT. THAT WAS SOMETHING.
>> DO YOU EVER, EVEN
UNCONSCIOUSLY, PICK UP
SOMEBODY'S LINE AND USE IT?
>> OH, ON PURPOSE.
>> OH, I SEE.
THAT'S MORE HONEST THAN I
THOUGHT I WAS GOING TO GET.
>> PEOPLE SAY, "YOU SOUND LIKE
BILL." I SAID "THE HELL YOU MEAN?
THIS IS MY VOICE, JACK."
SO NO, I DID THAT FOR ‐‐ I MADE
A LOT OF MONEY AS BILL COSBY.
>> YEAH.
>> BUT HE ISN'T LIKE BILL COSBY.
>> BILL COSBY MADE HIS COMEDY
ACCEPTABLE TO WHITE PEOPLE.
IT WAS SAFE.
>> THERE'S NOTHING ABOUT BILL
COSBY'S UPBRINGING OR LIFE OR
CAREER THAT HAS ANYTHING TO DO
WITH RICHARD PRYOR.
>> RICHARD PRYOR FELT LIKE,
HEY, MAN, I GOT TO FOLLOW THIS
TO MAKE IT.
>> AND PRYOR GETS ON THIS PATH
AND STARTS APPEARING ON THESE
TALK SHOWS AND DOING KIND OF
STANDARD COMIC STUFF.
>> HE DIDN'T WANNA BE A BILL
COSBY, AND YET HE COULD DO BILL
COSBY IN A SECOND IF HE WANTED
TO.
>> IT WAS ALL ABOUT GETTING
"AMERICA" TO BE COMFORTABLE
ENOUGH WITH YOU TO GIVE YOU
SUCCESS.
>> RICHARD FELT HE HAD TO PANDER
TO THE WHITE AUDIENCE, AND HE
HATED HIMSELF FOR IT.
>> DO IT.
>> WHAT? WHAT?
WHAT, MR. GRIFFIN?
>> A LITTLE TAP DANCE.
MAKE THE TOES CLICK.
>> HE WOULD FESTER AND FESTER
ABOUT WHAT HE HAD TO DO TO BE
RECOGNIZED.
BUT HE DIDN'T WANT TO BE
RECOGNIZED FOR THAT SHTICK.
RICHARD WASN'T INTERESTED IN
BEING SAFE, EVER IN HIS LIFE.
NEVER.
>> HE KIND OF HAS TWO DIFFERENT
ACTS.
THERE ARE THE ACTS, THE SKITS
THAT HE'S, YOU KNOW, HONING
SO THAT HE CAN PERFORM ON
ED SULLIVAN OR MERV GRIFFIN, YOU
KNOW? AND THEN THERE'S THE IMPROV
THAT HE'S DOING AT 11:00 P. M.,
AND HE'S TRYING TO FIGURE OUT
"HOW DO I PUT THESE THINGS
TOGETHER?"
>> AND WHEN YOU'RE FINDING YOUR
OWN VOICE AND YOU HAVE TO SEARCH
FOR THAT, IT'S NOT EASY.
THERE'S A PRICE TO PAY.
BECAUSE THEY WANT YOU TO BE WHO
THEY WERE COMFORTABLE WITH.
>> HERE HE IS, OUR OWN LITTLE
RICHIE PRYOR. RICHARD!
>> BUT YOU KNOW YOU HAVE
SOMETHING YOU WANT TO DO,
AND YOU HAVE TO DO IT.
>> AND SO HE GOES DOWN TO
GREENWICH VILLAGE.
>> GREENWICH VILLAGE STARTING IN
THE '50s AND MOVING THROUGH THE
'60s WAS KIND OF LIKE BOHEMIAN
GROUND ZERO IN THE UNITED STATES.
>> IN GREENWICH VILLAGE HE FINDS
A VERY INTERESTING SCENE.
>> YOU HAD A LENNY BRUCE, WHO
WAS WORKING IN THE VILLAGE.
YOU HAD MORT SAUL, WHO WAS KIND
OF DOING TOPICAL HUMOR.
YOU HAD DICK GREGORY, ANOTHER
AFRICAN AMERICAN COMIC, WHO WAS
TRYING TO KIND OF PUSH THE
BOUNDARIES OF WHAT WAS TOPICAL.
>> YOU HEARD WHAT BOBBY KENNEDY
SAID ABOUT EIGHT WEEKS AGO?
HE SAID 30 YEARS FROM THIS YEAR
A NEGRO CAN BECOME PRESIDENT, SO
TREAT ME RIGHT AND I'LL GET IN
THERE AND RAISE TAXES ON YOU.
>> THOSE GUYS WERE THE VERY HIP
CATS AT THE TIME.
CARLIN WAS BIG.
AND ALONG CAME LIKE ELAINE
BOUSLER.
>> SUDDENLY PEOPLE WERE THINKING
OF COMING OUT TO SEE COMEDY.
>> AND IT BECAME A YOUNG THING.
AND RICHARD PRYOR STARTS TO
LISTEN TO WHAT HE'S THINKING
HIMSELF, AND HE JUST DIGS DEEP
INSIDE HIMSELF AND GOES FOR IT.
>> AN ARSONIST DOWN IN WATTS
DURING THE RIOTS. OKAY?
[ SIREN ]
ALL RIGHT GET UP TO THE WALL,
PEW, PEW, PEW, PEW, PEW.
HE AIN'T THE ONE? WELL, LET'S GO.
>> HE THOUGHT THAT THROUGH
COMEDY, YOU COULD BREAK A LOT OF
BARRIERS YOU COULDN'T IN ANY
OTHER WAY.
AND HE FELT THAT COSBY HAD BEGUN
TO DO IT.
BUT HE THOUGHT HE WAS LIKABLE
AND RICHARD SAID, I REMEMBER THE
WORD, HE SAID I'M GOING TO BE
UNLIKABLE.
I WANT THEM TO FIGHT ME.
>> SOMETHING INSIDE ME ‐‐ I
THINK IT'S GOING TO BE SOMETHING
GOOD THOUGH, WHEN I GET TO IT.
>> AT THE END OF THE DAY, IF
PROPER SOCIETY OR MAINSTREAM
MEDIA DIDN'T EMBRACE RICHARD IT
WOULD NOT HAVE CHANGED WHAT HE
WAS DOING.
>> LET'S ALL GIVE THANKS ON THIS
FIRST DAY OF THANKSGIVING, AS
WE'RE ALL SO THANKFUL TO BE
THANKFUL WE'RE THANKFUL.
I KNOW YOU'RE THANKFUL THAT I'M
THANKFUL, THAT WE'RE ALL SO
THANKFUL. AREN'T YOU THANKFUL?
YES, MASSA.
>> RICHARD DIDN'T GET IT UNTIL
HE LET OUT WHAT HE HAD INSIDE OF
HIM AND BECAME THE REAL HONEST
RICHARD PRYOR.
>> YOU BETTER GET IT TOGETHER.
>> BUT HE FOUND IT, DIDN'T HE?
HE FOUND HIS WAY.
>>> VEGAS NEXT TO NEW YORK
IS THE PINNACLE OF THE COMIC
WORLD.
IT IS WHERE ENTERTAINMENT, LIVE
ENTERTAINMENT, LIVES AND THRIVES.
IF YOU MAKE IT IN A PLACE LIKE
THE ALADDIN, YOU'VE ARRIVED.
>> VEGAS WAS EVERYTHING.
IT WAS HUGE MONEY IN THOSE DAYS.
ALL THOSE CATS WERE MAKING
MONEY, AND IT WAS A FABULOUS
LIFESTYLE. TONS OF WOMEN.
IT WAS A DISNEYLAND FOR
EVERYTHING.
>> WELCOME TO THE FLAMINGO HOTEL
IN GLITTERING LAS VEGAS.
>> RICHARD HAS THIS GREAT
CONTRACT.
HE WAS GOING TO MAKE ALL THIS
MONEY, AND HE WAS GONNA BE IN A
SHOWROOM, APPEARING.
>> YOU WOULD THINK THAT WOULD BE
ENOUGH FOR ANY COMIC.
>> HE'S GOT THIS ‐‐ WHAT SHOULD
BE, LIKE, A BIG GIG THAT OPENS
THINGS UP FOR HIM.
BUT IT'S ALSO TRUE THAT THE
VEGAS AUDIENCE IS NOT LIKE THE
AUDIENCE THAT HE'S ‐‐ HE LOVES
THE MOST.
>> IMAGINE GUYS IN SHARKSKIN
SUITS AND WOMEN WITH BOUFFANT
HAIRDOS.
THAT'S WHO THE VEGAS CROWD IS,
RIGHT?
THIS IS NOT A MIXED RACE CROWD.
THIS IS LAS VEGAS CIRCA 1967.
>> IT WAS AN ALL‐WHITE TOWN,
PERIOD.
AND IT WAS A VERY, VERY RACIST
CITY, LAS VEGAS.
THERE WAS NO BLACK PEOPLE
WORKING IN ‐‐ ON THE STRIP IN
LAS VEGAS. THERE WERE NO DEALERS.
THERE WERE NO DOORMEN.
THERE WERE NO MANAGERS.
THERE WERE NO HOTEL CLERKS.
THERE WERE NO COCKTAIL
WAITRESSES.
THERE WERE NO BLACKS IN THE
HOTELS ON THE STRIP.
>> WELL, LAS VEGAS WAS A PLACE
WHERE HIGH ROLLERS WENT TO SEE
ENTERTAINMENT LIKE THE RAT PACK.
BUT THE KIND OF CASUAL RACIAL
SLURS THAT DEAN AND FRANK
DELIVER ON TO SAMMY WITH A JOKE
AND A KIND OF WINK JUST SEEM
APPALLING NOWADAYS.
>> I'D LIKE TO THANK THE NAACP
FOR THIS WONDERFUL TROPHY.
>> I WAS THE OPENING ACT FOR
THE CARPENTERS, ABBA, JOEL GREY,
PETULA CLARK.
YOU WEREN'T OPENING FOR ACTS
THAT BROUGHT IN ANY BLACK PEOPLE.
>> SO, IMAGINE RICHARD PRYOR,
AND YOU'RE SUDDENLY IN VEGAS,
AND YOU WANT TO SHOW THEM WHAT
YOU CAN DO.
YOU WANT TO BE THE PERSON THAT
YOU ARE, BUT YOU GOT THESE RULES.
YOU CAN'T CURSE.
>> EVERYBODY WAS TOLD TO BE
TOTALLY CLEAN. NO DIRT AT ALL.
OTHERWISE YOU'LL NEVER WORK.
>> YOU DON'T TALK ABOUT BEING
RAISED IN A BROTHEL.
YOU DON'T TALK ABOUT DRUG USE
AND SCREWED UP RELATIONSHIPS.
YOU DON'T.
>> AND THEN YOU LOOK OUT IN THE
AUDIENCE, AND IT'S ALL WHITE
PEOPLE.
YOU HAVE TO DEAL WITH THAT AND
FIGURE OUT, WAIT A MINUTE, WHAT
AM I DOING HERE?
THIS IS NOT ‐‐ AM I SUPPOSED TO
BE HERE?
AM I SUPPOSED TO BE DOING THIS?
IT JUST SORT OF DOESN'T GEL.
SO THERE'S THIS UNDERLYING,
UNEASY THING THAT HAPPENED WITH
RICHARD IN LAS VEGAS.
>> YOU LIVE BEING BLACK IN A
BLACK WORLD, BUT WHEN YOU START
INTERACTING IN A WHITE WORLD,
YOU HAD TO PUT ON A DIFFERENT
ATTITUDE.
YOU'D HAVE TO PROTECT YOURSELF.
YOU'D HAVE TO BE CAREFUL WHAT
YOU SAY AND HOW YOU SAY IT.
>> I WASN'T COURAGEOUS OR HONEST
SOMETIMES.
I WOULD GET A LAUGH AND FEEL
SAFE THERE, AND I WOULDN'T GO
ANY FURTHER.
I WOULD SAY [ BLEEP ] IT'S HARD
ENOUGH TO GET THIS LAUGH.
LEAVE IT AT THAT.
>> AND SO, RICHARD WAS TRAPPED
IN THIS WORLD THAT CERTAINLY
DIDN'T FIT HIS CREATIVITY OR HIS
IMAGINATION.
AND I THINK HE HAD ENOUGH.
>> IN PRYOR'S CASE, THERE'S
A FAMOUS KIND OF EPIPHANY.
>> HE WAS IN VEGAS, AND HE
LOOKED INTO THE EYES OF
DEAN MARTIN, WHO WAS IN THE
AUDIENCE, AND APPARENTLY, HE
SAID DEAN WAS LOOKING AT HIM
WITH THIS LOOK OF LIKE, WHAT THE
[ BLEEP ] ARE YOU DOING?
AND RICHARD OBVIOUSLY
INTERNALIZED THAT QUESTION
IMMEDIATELY AND WALKED OFF STAGE.
>> AND I THINK IN ONE FELL
SWOOP, IN ONE MOMENT, HE JUST
WENT, I GOT TO LET THE GENIE OUT
OF THE BOTTLE. I CAN'T DO THIS.
IT'S LIKE A PRIMAL SCREAM.
HE JUST WENT [ BLEEP ] YOU KNOW?
THAT'S NOT ME.
>> I'M SURE THE AGENT TO THIS
DAY IS PROBABLY HANGING IN HIS
OFFICE BY A NOOSE OR SOMETHING
GOING, OH, MY GOD, HE BLEW ALL
THIS MONEY.
>> AT THAT POINT IN HIS LIFE, HE
WAS KIND OF SPINNING OUT OF
CONTROL.
HE HAD HAD SOME SUCCESSES BUT
THEY WEREN'T SATISFYING TO HIM.
WHAT HE WAS DOING WAS, LIKE,
GUEST SPOTS ON
"THE PARTRIDGE FAMILY."
>> I KNOW IT'S NONE OF MY
BUSINESS, BUT I KEEP WONDERING
WHY YOU WANT TO BEAT UP
VEGETABLES?
>> BECAUSE THAT'S THE ONLY THING
I CAN BRUISE THAT WON'T BRUISE
ME BACK.
>> THAT WAS THE LAST THING HE
DID, AND HE'S LIKE, "IS THAT
WHAT I WANT TO BE KNOWN FOR?"
>> I COULD FEEL THE STIRRINGS OF
AN IDENTITY CRISIS.
IT WAS COMING ON LIKE THE
BEGINNING OF AN ACID TRIP.
MAKE UP, RICHARD.
YES, YOU'RE AN IGNORANT JERK,
PUMPING YOUR ‐‐ LIKE A CHEAP ‐‐
BUT YOU HAVE A BRAIN.
USE IT.
>> IF YOU CHOOSE TO MOVE TO
BERKELEY YOU ARE DUNKING
YOURSELF HEAD FIRST INTO A WHOLE
DIFFERENT WORLD.
>> BERKELEY IS REALLY THE
EPICENTER OF BOTH THE
COUNTERCULTURE AT THE TIME AND
OF THE BLACK POWER MOVEMENT.
>> THAT PERIOD OF TIME, THE
WORLD WAS BLOWING UP.
PATTY HEARST WAS KIDNAPPED.
THE CHICAGO RIOTS.
THERE WAS SO MUCH GOING ON.
>> KING'S DEATH.
KENNEDY'S DEATH.
>> WE WERE A NATION DIVIDED
ALONG RACIAL LINES, DIVIDED OVER
THE WAR.
AND RICHARD PRYOR CAME ALONG
INTO THIS ANGRY SOUNDTRACK IN
AMERICAN HISTORY AND ADDED A
LAUGH TRACK.
>> BLACK POWER'S JUST A WORD.
YOU ALL GET UPTIGHT.
BLACK POWER'S COMING.
BLACK POWER'S COMING!
ANYWAY, YOU HAVE NOTHING TO FEAR
FROM THE BLACK MAN EXCEPT HIS
THOUGHTS. THAT'S ENOUGH!
>> THE VOICE OF THOSE TIMES WAS
REALLY HEARD IN MUSIC.
♪♪
THAT WAS THE NEW AGE, AND THAT'S
WHAT PEOPLE WERE LISTENING TO.
♪♪
WELL, HIS MUSIC IS HIS VOICE,
IS HIS COMEDY.
>> NEGROES CAN'T GO TO HEAVEN.
THEY CAN GET A PROMISE OF HEAVEN.
I WAS A NEGRO FOR 23 YEARS.
I GAVE THAT [ BLEEP ] UP.
NO ROOM FOR ADVANCEMENT.
>> AND IT WAS ALARMING TO
PEOPLE.
BUT, YOU KNOW, THE HIP CATS IN
JAZZ TYPE CLUBS GOT IT,
THAT THIS IS A NEW WORLD.
>> HE WASN'T DOING, YOU KNOW,
THE BILL COSBY ROUTINES ANYMORE.
YOU KNOW, "LIVE AND SMOKIN'"
WAS ‐‐ HE SHOT THAT IN 1971,
AND THAT'S HARDCORE.
AND YOU COULD SEE, "OH, HELL,
WE'RE IN FOR A RIDE HERE."
>> MY DADDY TOLD ME HE DON'T
WANT TO SEE ME INTO THE CITY
JUST BECAUSE I STOLE HIS
TELEVISION.
>> AND THAT'S WHEN HIS JOKES
BECAME MORE ABOUT WHAT I DID.
THEN IT BECAME PERSONAL.
THEN THE JOKES ELEVATED, BECAME
REAL.
>> HIS FIRST INITIAL APPEARANCES
WERE SO STRONG, SO RAW, IT
REMINDED ME ‐‐ THE CLOSEST I
COULD THINK OF IS WHEN
JIMI HENDRIX FIRST HIT THE
UNITED STATES.
PEOPLE JUST WENT, OH, MY GOD!
WHAT IS THIS?
>> YEAH, BOY, I GOT SOME.
I GOT SOME ADVICE FOR YOUR ‐‐
YOU BETTER LAY OFF THAT
NARCOTICS [ BLEEP ] THAT MADE
YOU NULL AND VOID.
>> GETTING ON STAGE IS HARD FOR
ANYBODY.
BUT DOING WHAT RICHARD DID WAS
REALLY HARD, I THINK.
>> CAN'T GET ARRESTED FOR
DRINKING NOTHING.
[ LAUGHTER ]
>> RICHARD TALKED ABOUT HIMSELF
AND HIS TRUTH.
WHERE HE CAME FROM, WHERE HE
WANTED TO GO.
WHO HE WAS AS A HUMAN BEING.
WHAT AMERICA WAS.
>> HE CAME BACK SMOKING MORE
JOINTS THAN EVER, DOING COCAINE,
MORE WOMEN.
BUT WITH THAT CAME A HEAVY,
HEAVY DRUG THING.
HE WAS ALWAYS DOING DRUGS,
BUT NOT LIKE THIS.
>> I'M REALLY NERVOUS BECAUSE
I AIN'T HAD NO COCAINE ALL DAY.
LOVE COCAINE.
>>> AS THE 60S MOVES ON AND AS
THE COUNTER CULTURE GROWS, NOT
JUST IN MUSIC OR POLITICS OR
CIVIL RIGHTS, BUT IN PLACES LIKE
COMEDY, THE SOCIETY IS BEING
REFLECTED IN THE ARTS.
>> THE PEOPLE IN THIS COMMUNITY
FEEL THEY HAVE BEEN TREATED
UNFAIRLY.
>> POLICE JUMPED OUT THE CAR,
TWO GRAB YOUR LEGS, ONE GRAB
YOUR HEAD AND SNAP, "OH HE
[ BLEEP ] HE BROKE.
CAN YOU [ BLEEP ] OKAY?
>> RICHIE, WAS COMING FROM THE
JIM CROW TIME, ANOTHER PAIN,
A MUCH DEEPER PAIN.
PAIN THAT HE KNEW IN THE CIVIL
RIGHTS, THOSE PEOPLE NEVER SEEN.
HE KNOWS THAT FROM THE TIMELINE
HE'S FROM, AND THEN PROBABLY
FROM THE PART OF THE COUNTRY
HE'S FROM.
SO YOU TAKE ALL OF THAT, AND YOU
HEAR FROM YOUR GRANDMOTHER AND
GRANDFATHER THESE TYPE OF
KILLINGS, HANGINGS, WHATEVER
STORIES WAS TOLD THEN, YOU
BRING IT ALL THE WAY WITH YOU TO
RIGHT NOW, AND YOU STILL SEE IT.
>> POLICE GOT A CHOKE HOLD THAT
THEY USE OUT HERE THOUGH ON YOU
MAN, THEY CHOKE [ BLEEP ] TO
DEATH.
YOU BE DEAD WHEN THEY THROUGH.
DID YOU KNOW THAT?
WAIT A MINUTE [ BLEEP ] GOING,
"YEAH WE KNOW."
WHITE FOLKS GOING, "OH NO, I HAD
NO IDEA."
>> RICHARD WAS ARRESTED A FEW
TIMES.
ONE TIME HE WAS ARRESTED IN
PITTSBURGH 1963, AND ON THE
MUGSHOT IT SAYS "EYES, MAROON.
HAIR, KINKY."
>> I KNOW THE FACTS OF LIFE MAN,
I'M A BLACK MAN, BUT I'M A MAN.
AND IF YOU CAN SEE THE MAN IN
ME BEFORE YOU SEE THE BLACK, GOD
BLESS YOU, BECAUSE THEN WE CAN
DEAL.
>> BACK THEN WE NEEDED TO SEE
AGGRESSION, WE NEEDED TO SEE
RESISTANCE, WE NEEDED TO SEE A
WARRIOR.
>> THERE WAS SUCH PRESSURE ON
HIM AT THAT TIME TO BE THE NEW
BLACK VOICE. BECAUSE, YOU KNOW,
MARTIN LUTHER KING WAS DEAD,
MALCOM X WAS DEAD, SO THEY
WANTED RICHARD TO BE IT.
HE DIDN'T WANT THE JOB.
THE DRUGS WERE JUST A PANACEA,
JUST A CURE FOR EVERYTHING THAT
WAS GOING ON, ALL OF IT THIS,
JUST ‐‐ OH, THAT PRESSURE.
>> DOPE DEALERS.
I DID IT SO BAD, DOPE DEALERS
TRIED NOT TO SELL ME NOTHING.
NOW THAT'S DOING IT WHEN DOPE
DEALERS SAY, I AIN'T GOING TO
GIVE YOU NO MORE.
>> OUR FIRST REAL DATE, HE TOOK
ME TO A DRUG DEALER IN SAN
FRANCISCO, AND TO BUY COCAINE.
AND THEN WE WENT TO ‐‐ HE TOOK
ME TO A MOVIE.
I'D NEVER EVEN SPOKEN TO A BLACK
MAN, LET ALONE KISSED ONE OR HAD
SEX WITH ONE, AND IT WAS LIKE ‐‐
IT WAS A NEW EXPERIENCE FOR ME,
AND I WAS JUST INFATUATED WITH
HIM.
THAT'S HOW HE MET AND WHAT OUR
LIFE WAS LIKE.
>> LOOK, I LIKE DRUGS.
I DO.
PEOPLE CALL THEM DRUGS, RIGHT?
BUT I LIKE COCAINE EVERY NOW AND
THEN, SIT AROUND MY FRIENDS AND
GET HIGH.
>> YOU MIGHT STILL.
>> MIGHT STILL?
>> DO STILL.
>> AND RICHARD HAD ENDLESS MONEY
FOR IT.
RICHARD COULD GO AND BUY A POUND
OF COCAINE, AND THEN HE WAS JUST
SNORTING IT AND SNORTING IT.
>> WE'D GO TO HIS HOUSE UP IN
NORTHRIDGE, RIGHT?
AND HE'D HAVE A TABLE FULL OF
COKE.
AND HE'D SAY, "HEY MAN, THIS
TABLE HERE, THIS IS MORE THAN
YOU'LL EVER MAKE IN YOUR
LIFETIME.
>> HIS HABIT WAS MAYBE 20 GRAND
A MONTH.
WELL, HOW LONG DO YOU THINK HE
COULD DO THAT?
>> EVERY TIME I GET IN TROUBLE
IT'S BECAUSE I END UP DRINKING
TOO MUCH OR I END UP SNORTING
TOO MUCH OR SMOKING TOO MUCH.
BUT I JUST WANT TO SAY THIS ‐‐
LIKE, LOOK I LIKE DRUGS, I DO.
>> COCAINE'S A HELL OF A DRUG,
YOU KNOW?
AND IT GIVES YOU 20 MINUTES OF
EGO.
AND SO I THINK THAT'S MAYBE WHY
SO MANY COMEDIANS WOULD TURN TO
IT, ESPECIALLY, AFTER A SHOW
WHEN YOU'RE COMING DOWN FROM THE
SHOW.
YOU DON'T WANT TO HIGH TO END,
SO YOU TURN TO SOMETHING.
>> HE WAS NOT HAPPY WITH HIS
LIFE, NO MATTER HOW MUCH MONEY
HE HAD EARNED OR WHAT KIND OF
SUCCESS HE HAD ATTAINED.
>> I THINK PROBABLY IN THIS DAY
AND AGE, IN THIS CONTEXT, HE'D
BE ON ANTIDEPRESSANTS INSTEAD
OF,EN WHY, VODKA, VODKA, VODKA.
>> AND AGAIN, IT GOES BACK TO
HIS CHILDHOOD.
THE WAY HE WAS RAISED.
>> WHATEVER HAPPENED TO HIM AS A
CHILD WAS NEVER FIXED.
>> JUST WATCHING HIS MOTHER BE
A WHORE HAD TO AFFECT HIM AS A
MATURE ADULT MAN.
>> IMAGINE BEING A BEAUTIFUL
VASE THAT EVERYBODY LOVES,
BUT THERE'S A CRACK IN IT.
SOMEBODY DROPPED IT.
AND THAT WAS RICHARD PRYOR.
EVERY TIME IT BROKE, IT BROKE IN
THE SAME PLACE. CHILDHOOD.
>> MY GRANDMOTHER WOULD WAKE MY
ASS UP.
YOU KNOW, "GET YO ASS OUT, PUT
YOUR HAND ‐‐ PUT YOUR HAND ‐‐
DON'T YOU RUN FROM ME, DON'T YOU
RUN FROM ME.
AS LONG AS YOU BLACK, DON'T YOU
RUN FROM ME.
>> THE GRANDMOTHER, REALLY, SHE
WAS THE MATRIARCH OF THE FAMILY.
SHE RAN IT WITH AN IRON HAND,
AND SHE DIDN'T SUFFER FOOLS.
INCLUDING HIM.
>> EVEN THOUGH SHE BEAT THE
[ BLEEP ] OUT OF HIM, SHE WAS
STILL THE ONLY ONE THAT HE FELT
LOVED HIM.
>> A STAR WITH A BROKEN
CHILDHOOD.
HE WAS WALKING AROUND WITH BLEW.
WE WAS LAUGHING BUT HE WAS DYING
INSIDE.
>> YOU COULDN'T FILL THE HOLE,
YOU COULDN'T, THERE'S NOTHING
YOU COULD DO.
AND HE WOULDN'T LET YOU.
HE WOULDN'T EVEN LET YOU TRY.
YOU'RE NOT COMING IN HERE AND
YOU'RE NOT GOING TO SAVE ME AND
YOU'RE NOT GOING TO RESCUE ME.
FORGET THAT.
>> IT'S SUCH A DOUBLE‐EDGED
SWORD, BECAUSE A LOT OF HIS
HUMOR CAME FROM THAT FAMILY TOO.
>> BOY, WHAT'S THAT YOU'RE
PUTTING UP YOUR NOSE?
I SAID COCAINE, MAMA.
JESUS, GOD, TAKE ME NOW LORD,
TAKE MY NOW.
GOD, SAVE MY LIFE. TAKE ME, TAKE
ME, TAKE ME.
>> RICHARD COMES ON AND GOES,
WAIT A MINUTE. THAT'S ME.
THAT HAPPENED TO ME.
THAT'S MY LIFE.
>> I SAID, MAMA DON'T DO IT.
$1,600 WORTH DOWN THE DRAIN.
>> THESE WERE VOICES AND
ATTITUDES THAT WERE NEVER DONE
BEFORE.
>> HERE IS THE BROTHEL, DRUGS,
PEOPLE GETTING SHOT, STABBED,
PROSTITUTES, HOMOSEXUALITY,
WHATEVER.
>> THESE ARE FUNNY CHARACTERS
HE'S DOING, BUT THEY'RE REAL.
THIS IS A FUNNY SITUATION THAT
HE'S TALKING ABOUT, BUT IT'S
REAL.
>> [ BLEEP ].
YOU DON'T COME DRIVING AROUND
THROW HERE LIKE YOU CRAZY.
THIS IS A NEIGHBORHOOD MAN.
THIS IS A RESIDENTIAL DISTRICT.
>> I RELATED TO HIM.
I WASN'T A SMALL BLACK CHILD,
I WASN'T, I DIDN'T GROW UP NEAR
PROSTITUTES, BUT SOMEHOW I GOT
HIM.
>> IMMA DO IT WITH YOU BOY, IMMA
WALK WIT' YA, 'CAUSE I BELIEVE
YOU GOT POTENTIAL.
>> THEN HE'D SAY SOMETHING LIKE
THAT, "I WANNA WALK WIT' YOU
BOY, TALK WIT' YOU CAUSE I THINK
YOU'VE GOT POTENTIAL."
I MEAN, HE SAID THINGS IN SUCH A
WAY THAT YOU JUST OPEN YOUR
HEART TO EVERYONE.
>> RICHARD PRYOR HAD SEVEN
MARRIAGES TO FIVE WOMEN.
TWO OF THEM TWICE.
>>> I DEFINITELY FELT THAT
RICHARD WAS MY SOUL MATE, LOVE
OF MY LIFE.
THAT'S WHY I MARRIED HIM TWICE.
>> RICHARD PRYOR HAD SEVEN
MARRIAGES TO FIVE WOMEN, TWO OF
THEM TWICE.
>> RICHARD PRYOR FIST WIFE WAS
PATRICIA PRICE.
>> AND THEN HE MARRIED SHELLEY,
AFTER SHELLEY CAME DEBORAH,
AFTER DEBORAH, ME, AND THEN
AFTER ME, FLYNN. AND THEN ME.
HOW MANY TIMES ITS THAT?
>> RICHARD PRYOR AND WOMEN.
OH, MAN.
>> SO HE HAD A LOT OF WOMEN AND
A LOT OF WIVES AND A LOT OF
CHILDREN.
HE WAS NOT ALONE IN THAT
IN THE ENTERTAINMENT WORLD.
BUT HE TALKED ABOUT IT.
>> I REALLY AM TRYING.
I REALLY AM TRYING.
I'M TELLING YOU, I'M [ BLEEP ]
TRYING, OKAY?
BUT IT'S HARD TO WAKE UP AND SEE
THE SAME PERSON ALL THE
[ BLEEP ] TIME.
>> HE SAID YOU HAVE TO WAKE UP
WITH THE SAME PERSON DAY AFTER
DAY.
SO REALLY WHAT HE WAS ADDRESSING
WAS THE KIND OF BOREDOM OF
DAY‐TO‐DAY LIVING.
RICHARD HAD A HARD TIME KNOWING
THAT AND LIVING A KIND OF, YOU
KNOW, EXISTENCE THAT WASN'T A
PARTY EVERY DAY.
>> THE NIGHT AFTER HE WAS
MARRIED WITH JENNIFER, HE
KNOCKED AN HIS LAWYER'S DOOR AND
SAID, I WANT A DIVORCE.
THE FOLLOWING MORNING.
>> THAT WAS BECAUSE RICHARD FELT
THAT IT WAS CRITICALLY IMPORTANT
FOR HIM TO CONQUER YOU.
>> IT WAS A GAME WITH HIM.
IT WAS A SPORT.
>> AND THEN ONCE YOU GAVE IN,
WELL, NOW THE INTEREST WAS VERY
MUCH LESS.
>> IT'S A RESULT OF WHAT HE WAS
EXPOSED TO IN PEORIA, WHERE YOU
GREW UP IN A WHORE HOUSE, AND
THERE'S LIES, THERE'S CHEATING,
AND THERE'S ALL OF THOSE THINGS
IN THAT WORLD.
WHAT HE SEEN THERE IMPRESSED ON
HIS MIND HIS THOUGHTS ABOUT
WOMEN.
>> so IT'S COMPLEX FOR RICHARD
BECAUSE HE NEVER HAD THE NORMAL
KIND OF UPBRINGING THAT ALL OF
US NICE MIDDLE CLASS PEOPLE HAD.
>> HOW DO YOU GROW UP LIKING
WOMEN WHEN YOU'RE BORN AND
BROUGHT UP IN A HOUSE OF
PROSTITUTION?
>> I WOULD THINK THAT YOU WOULD
THINK THAT EVERY WOMAN WAS ON
THE MAKE OR ON THE TAKE.
>> I DID.
>> SOME OF THE MISTRUST HE MAY
HAVE HAD WITH HIS WIVES OF WOMEN
HE WAS WITH WAS AS A RESULT OF
WHAT HE IS EXPOSED TO
BUT WHEN HE WAS EXPOSED TO IT,
IT WAS IN PEORIA.
>> HIS MOTHER ACTUALLY RAN AWAY
FROM THE BROTHEL WHEN HE WAS
ONLY 5 OR 6.
BECAUSE SHE DIDN'T WANT TO BE
PART OF THAT LIFE.
>> WHAT DOES IT DO TO A KID WHEN
HIS MOTHER LEAVES WHEN HE'S 6?
>> I HATED HER.
>> YOU HATED HER.
>> YEAH.
I DIDN'T UNDERSTAND WHY SHE'D
LEAVE ME WITH THEM.
>> RICHARD COULD NOT TRUST THAT
BETRAYAL WASN'T RIGHT AROUND THE
CORNER.
AS A RESULT, HE BETRAYED PEOPLE.
AS A RESULT, HE PUNISHED PEOPLE
FOR REAL OR IMAGINED BETRAYAL.
>> PRYOR TELLS A STORY IN HIS
LIVE IN CONCERT SPECIAL ABOUT
GETTING ARRESTED FOR KILLING
A CAR, IS HOW HE PUTS IT.
>> HE WAS MAD WITH HIS LADY AND
HE SHOT HER CAR ‐‐
[ LAUGHTER ]
‐‐ WITH A .357 MAGNUM.
>> AND IT SEEMED FAIR TO KILL MY
CAR TO ME, RIGHT?
BECAUSE MY WIFE WAS GON' LEAVE
MY ASS, AND I SAID NOT IN THIS
[ BLEEP ] YOU AIN'T.
NO, LORD.
YOU LEAVE, YOU BE DRIVIN' THOSE
HUSH PUPPIES YOU GOT ON.
>> IF SHE HAD JUST RAN DOWN THE
DRIVEWAY, SHE WOULD HAVE GOT
AWAY, BUT THE FACT THAT SHE
TRIED TO GET AWAY WITH THE
MERCEDES, WAIT A DAMN MINUTE.
>> THEN THE POLICE CAME, AND I
WENT IN THE HOUSE, BECAUSE THEY
GOT MAGNUMS, TOO, AND THEY DON'T
KILL CARS.
THEY KILL [ BLEEP ].
>> IT WAS SO FUNNY.
THE TIMING OF IT, THE SOUNDS
THAT HE'S FIGURED OUT TO MAKE,
AND NOW WATCHING THAT YOU'RE
THINKING, HIS WIFE MUST HAVE
BEEN TERRIFIED.
>> BECAUSE HE HAD BEATEN HER, SO
SHE WAS RUNNING AWAY, SO THE
ONLY CAR SHE HAD HER HANDS ON
WAS THE MERCEDES.
>> IN TERMS OF HIS RELATIONSHIP
WITH THE WOMEN IN HIS LIFE,
I THINK THAT THE CLOSER THEY
CAME TO HIM, THE MORE UGLINESS
THEY EXPERIENCED.
JUST AS HE HAD LIVED IN FEAR
WHEN HE WAS GROWING UP.
>> RICHARD HAD A SIMMERING RAGE
ALL THE TIME.
IT WAS JUST SOMETHING INNATE
WITH HIM, LIKE A GENETIC DEFECT.
>> HE LEARNED FROM HIS CHILDHOOD
THAT LOVE WAS TANGLED UP IN
VIOLENCE, AND HE NEVER COULD
QUITE SEPARATE THOSE IN TERMS OF
HIS RELATIONSHIPS WITH WOMEN.
>> THE MACK REALLY HIT HOME FOR
RICHARD IN THE SENSE THAT IT WAS
ABOUT A PIMP.
>> SHE IS FINE.
>> I'M FENNISHED, BUT I'LL LET
YOU HAVE HER.
>> HE FOUND HIMSELF IMMERSED
BACK IN THAT LIFE, THAT PIMP
LIFE OF HIS FATHER AND HIS UNCLE.
>> YA' KNOW WHAT I MEAN?
I'M TALKING ABOUT PLAYERS.
THEY AIN'T NO PLAYAS, I'M DRUNK.
YOU KNOW WHAT I MEAN?
>> IT DIDN'T GO WELL.
WHEN WE CAME BACK TO HOTEL, WE
HAD NO MONEY.
SO HE DECIDED THAT HE WANTED ME
TO GO TO THE BEVERLY HILLS HOTEL
AND FIND A TRICK AND BRING HOME
THE MONEY. I TRIED.
I MEAN, I GOT IN THE CAR AND I
DROVE TO THE BEVERLY HILLS HOTEL.
AND FINALLY I DECIDED I COULDN'T
DO IT.
AND WHEN I DROVE HOME, RICHARD
WAS ENRAGED THAT HIS ATTEMPT AT
PIMPING ME DID NOT WORK.
HE HAD BEEN DRINKING COURVOISIER.
HE ALREADY HAD PLENTY OF DRUGS
IN HIS SYSTEM, AND HE STARTED
BEATING ME WITH THE COURVOISIER
BOTTLE.
>> AND THESE ARE HORRIBLE
MOMENTS.
VERY DAMAGING MOMENTS FOR THE
WOMEN WHO ‐‐ WHO WANTED TO LOVE
HIM.
>> HE LEARNED IT FROM HIS
FATHER.
HIS FATHER WAS NOT ONLY VIOLENT
WITH WOMEN, BUT HIS FATHER WAS
VIOLENT WITH HIM.
>> MY FATHER WAS SCARY, BOY.
I'D PISS ON MYSELF SOMETIMES
WHEN HE'D CALL MY ‐‐ RICHARD!
HUH?
>> I THINK IT WAS VERY EASY FOR
HIM TO ‐‐ TO STRIKE OUT WITHOUT
THINKING.
AND THEN HE WAS ALWAYS CONTRITE
AND ALWAYS SORRY.
>> HE FELL TO THE FLOOR AND
STARTED BEGGING ME, MAMA, HELP
ME. MAMA, I'M SICK, HELP ME.
AND HE PASSED OUT.
>> BUT, YEAH, I FOUGHT BACK.
I WAS ONE OF THE ONES WHO FIGHT
BACK. THEY SAY ABOUT DOMESTIC
VIOLENCE, THAT THE WOMEN WHO
FIGHT BACK EITHER END UP LEAVING
OR KILLING.
SO BASICALLY, I YOU KNOW, I HAD
TO GET OUT OF DODGE.
BUT I UNDERSTOOD THAT ANGER.
WHEN HE COULD CHANNEL IT WAS
WHEN HE WAS BRILLIANT.
>> AND I HAD A FIGHT WITH MY
FATHER ONE TIME.
YOU KNOW, WASN'T EXACTLY A
FIGHT, BUT I DID THE BEST I
COULD.
AND HE HIT ME IN THE CHEST,
HE HIT ME SO HARD, MY CHEST JUST
CAVED IN AND WRAPPED AROUND HIS
FIST. AND I HELD ON TO IT WITH MY
CHEST.
I WOULD NOT LET IT GO SO HE
COULD HIT MY ASS AGAIN.
AND EVERYWHERE HE MOVED HIS ARM,
I WAS HANGING ON. LIKE THIS.
>> YOU KNOW THAT THE PATH TO
THAT JOKE WAS PAINFUL, AND THE
WORLD IS LAUGHING.
>> THE N‐WORD.
>> THE N‐WORD.
>> THAT N‐WORD.
>> WAIT A MINUTE.
>> I BEG YOUR PARDON.
>> YOU CAN'T USE IT, I CAN USE
IT. THE END.
>>> GOOD EVENING, LANG LADIES
AND GENTLEMEN, AND WELCOME TO
"THE RICHARD PRYOR SHOW."
>> THIS IS SOMETHING NOBODY HAD
EVER SEEN BEFORE.
>> IT WAS REAL.
>> [ BLEEP ].
>> WHAT?
>> THAT LITTLE BOX COULDN'T HOLD
RICHARD PRYOR.
>> WHEN HE STARTED TO DO MOVIES
AND MAKE THESE BIG PAYCHECKS I
THINK HE DID FEEL AS IF HE WERE
COMPROMISING.
>> WHAT DO YOU WANT TO KNOW
ABOUT THIS MOVIE? IT SUCKS.
>> THAT'S BASICALLY WHEN ALL
HELL BROKE LOOSE.
>> HE SAID HE WAS GOING KILL
HIMSELF.
>> WHEN THAT FIRE HITS YOUR ASS
THAT WILL SOBER YOUR ASS UP
QUICK.
>> COULD HAVE HAD IT ALL, LIKE
THAT SONG SAYS.
AND BECAUSE OF THE DRUGS, WE
DIDN'T.
WE LOST IT.
>> WE ARE GATHERED HERE TODAY.
>> RICHARD WAS MANY DIFFERENT
PEOPLE.
>> AIN'T NOBODY MESSING WITH
YOU. TURN YOUR HEAD AROUND.
>> BREAK INTO CHARACTER.
THAT'S WHAT A REAL GOOD COMIC
DOES.
>> YOU DON'T KNOW WHAT HAPPENED?
>> I DON'T KNOW HOW MANY PEOPLE
IN HIS HEAD HE THOUGHT HE WAS,
BUT BECAUSE OF THAT HIS TALENTED
INTRODUCED US TO SO MANY THINGS.
>> I LOVE WHEN WHITE DUDES GET
MAD AND CUSS.
Y'ALL ARE SOME FUNNY [ BLEEP ]
WHEN YOU CUSS.
YEAH, COME ON, PECKERHEAD.
>> PROFANITY. YEAH.
HERE COMES RICHARD PRYOR WITH
THE "MF" WORD, WITH THE "F"
WORD, WITH EVERYTHING YOU COULD
HAVE. AND YOU KNOW, I EVEN HAD TO
THINK ABOUT IT I THOUGHT, "WELL,
IS THIS OKAY? WHAT'S THIS?"
>> WELL, THE LANGUAGE, TO ME,
WAS THE LANGUAGE OF THE STREET.
>> STUCK TO THE DIALOGUE,
SAYING THE STUFF THAT, IT'S
TABOO.
>> AIN'T NO WAY TO GET AN
AMBULANCE OUT IN THE GHETTO
UNLESS YOU CALL, THIS [ BLEEP ]
IS KILLING A WHITE WOMAN,
WHERE'S THE BODY?
>> DURING THOSE DAYS, THE
PREMIERE WAY OF AMASSING AN
AUDIENCE WAS TO PUT OUT A COMEDY
RECORD.
>> I'M NOT ALLOWED TO SAY IT
NOW BUT THERE WAS A TIME WHEN I
COULD EVEN TELL YOU, YOU KNOW
WHAT MY FAVORITE ALBUM WAS?
AND IT WAS ‐‐
>> THAT'S HOW THE TITLE OF THAT
N‐WORD IS CRAZY CAME INTO THE
LEXICON OF COMEDY.
>> ON TOWER RECORDS ON
SUNSET BOULEVARD, THAT WAS THE
BILLBOARD WITH NO PIXILATION.
HE CHANGED EVERYTHING.
>> THE RECORD CAME OUT AND WAS
AN INSTANTANEOUS HIT.
>> SOME DUDES WOULD TALK TO YOU
WHILE THEY KICKED YOUR ‐‐ RIGHT?
WHAT YOU WANT WITH ME, MAN?
>> SO HE'S ON DINAH SHORE.
I MEAN, SHE IS THE EPITOME OF A
KIND OF LILY WHITE SENSIBILITY.
>> I DON'T KNOW HOW YOU FEEL
ABOUT THE TITLE OF YOUR ALBUM,
BUT I FIND IT DIFFICULT TO SAY.
>> YOU DO?
FOR MOST WHITE PEOPLE IT'S HARD
TO SAY CRAZY.
>> WELL, YOU TELL THEM THE TITLE
OF THE ALBUM, I CAN'T SAY IT.
>> THE TITLE OF THE ALBUM IS
"THAT [ BLEEP ] CRAZY", AND
DON'T THAT [ BLEEP ] LOOK CRAZY?
>> SEE NOW YOU CAN JUST SAY THAT
AND TALK ‐‐
IF I SAID THAT WOULDN'T YOU GET
MAD?
>> I'D PUNCH YOU OUT.
>> WHAT HE'S DOING IS HE'S
WAVING IN FRONT OF PEOPLE
SAYING, I KNOW YOU SAY THIS WORD.
YOU MAY NOT SAY IT ON
DINAH SHORE'S SHOW AND DINAH
MIGHT NOT SAY IT, BUT THIS IS
A WORD THAT YOU USE.
AND NOW I'M GOING TO USE IT AND
BY USING IT, I AM MAYBE
OUTRAGING YOU SHOCKING YOU
ANNOYING YOU.
BUT YOU CAN'T HELP BUT THINK
ABOUT THE FACT THAT THIS WORD IS
OUT THERE.
>> YOU EVER NOTICE HOW NICE
WHITE PEOPLE GET WHEN THERE'S
A BUNCH OF [ BLEEP ] AROUND?
RIGHT?
THEY GET OUTSIDE THEY TALK TO
EVERYBODY. HI, HOW YOU DOING?
I DON'T KNOW YOU, BUT HERE'S MY
WIFE. HELLO!
>> HE WAS ALWAYS SPEAKING FOR
THE PEOPLE.
MAKE EVERYBODY LOOK AROUND.
OH, DID YOU HEAR THAT?
I'M COMING BACK NEXT WEEK.
I WANT TO HEAR THAT AGAIN.
>> I HATE THIS CONVERSATION.
THE N WORD.
WHICH I'VE SAID ISN'T THAT JUST
AS BAD AS THE ACTUAL WORD?
>> THAT WAS SOMETIMES
HISTORICALLY THE LAST WORD THAT
YOU HEARD BEFORE YOU WAS KILLED.
>> YOU CAN'T USE IT.
I CAN USE IT. THE END.
>> HELL, NO.
OH, YOU KNOW THAT I COULDN'T USE
THAT WORD.
>> THERE'S JUST RULES THAT ARE
WRITTEN IN THIS SOCIETY THAT ARE
INVISIBLY WRITTEN, BUT WE ALL
KNOW THAT THEY'RE THERE.
YOU ARE NOT ALLOWED TO SAY THAT
TO ME. PERIOD.
>> WHY SHOULD THERE BE AN
UNSPEAKABLE WORD?
>> CAN YOU BRING [ BLEEP ]
IN OKAY? LET'S CHECK THE MANUAL.
YEP, PAGE 8, YOU CAN BRING THEM
RIGHT THERE, SEE?
LET'S DRAG 'EM DOWN TOWN, OKAY.
>> AT THE TIME THAT WAS ALL PART
OF THE BLACK MAN BEING
REBELLIOUS.
IT SHOWED THAT HE WAS A REBEL.
YOU DIDN'T CARE WHAT NOBODY SAID.
>> RICHARD HAD BRAVERY TO GO THE
OTHER DIRECTION AND TO USE THE
N‐WORD. THAT WAS THE ANGER.
AND A LOT OF COMEDY DOES COME
FROM ANGER.
IT COMES FROM INJUSTICE.
IT COMES FROM HOW YOU'VE BEEN
TREATED.
>> IT'S ALWAYS BEEN OKAY FOR
BLACK PEOPLE TO SAY IT TO EACH
OTHER, BECAUSE IT'S JUST SORT OF
A FUNNY SLANG.
BUT WHEN IT'S NOT OKAY IS WHEN
A WHITE PERSON CALLS A BLACK
PERSON THAT, BECAUSE IT'S COMING
FROM A DIFFERENT MINDSET.
>> WHEN YOU'RE ON STAGE WHY IS
IT SO MUCH A PART OF YOUR
PERFORMANCE?
>> I DON'T KNOW WHY.
>> OKAY.
>> I REALLY ‐‐ NO, I DON'T.
I GUESS IT'S, UM ‐‐ I GREW UP
AND I LEARNED CERTAIN THINGS AND
I FELT BY DOING IT MYSELF THAT
IT TAKES THE STING OUT OF IT
WHEN YOU DO THAT.
200 YEARS OF THAT.
YOU PICK A LITTLE COTTON AND
YOU'LL BE ALL RIGHT. FOR FREE.
>> LORD KNOWS HE WAS
COMPLICATED.
RICHARD PRYOR CAME OUT OF A VERY
DARK PLACE.
AMERICA WAS COMING OUT OF A VERY
DARK PLACE.
AND THEN THE TWO CROSSED PATHS,
RICHARD PRYOR MADE A JOKE, AND
THEY WENT DOWN THE SAME ROAD
TOGETHER.
>> "SATURDAY NIGHT LIVE" IS A
REVELATION FOR ALL THE KIND OF
PEOPLE WHO WERE HOME SMOKING POT
ON A SATURDAY NIGHT.
IT'S AS IF THE NETWORK HAS BEEN
HIJACKED BY A BUNCH OF, LIKE,
HIPSTERS AND STONERS.
WHEN IT COMES TO COMEDY AND
NETWORK TELEVISION, IT IS THE
FINAL AND BIGGEST BREAK FROM THE
OLD WORLD.
>> THAT'S THE MOMENT WHEN LORNE
MICHAEL SAYS, I NEED TO GET THE
FUNNIEST PERSON ON THE PLANET TO
BE THE GUEST HOST ON MY SHOW.
>> LADIES AND GENTLEMAN,
RICHARD PRYOR.
>> HIS APPEARANCE ON "SNL" IN
THE FIRST SEASON IS REFLECTIVE
OF EXACTLY HIS KIND OF ABOVE
GROUND/UNDERGROUND APPEAL.
>> NOT ONLY DOES HE CONNECT SO
INTENSELY AND DEEPLY WITH THE
BLACK AUDIENCE, BUT ALSO HE
BRINGS THE WHITE AUDIENCE WITH
HIM AS WELL.
>> SO PRYOR WAS ON ONE OF THE
OPENING EPISODES OF THE FIRST
SEASON, AND THERE IS A SKIT IN
THAT EPISODE WHERE HE IS
APPLYING FOR A JOB AND HE IS
ACROSS A DESK FROM CHEVY CHASE.
>> DOG?
>> TREE.
>> FAST?
>> SLOW?
>> AFTER SOME BACK AND FORTH
CHEVY CHASE STARTS TO USE
INCREASINGLY RACIST INSULTS AT
PRYOR TO ASK HIM TO RESPOND.
>> COLORED?
>> REDNECK.
>> JUNGLEBUNNY.
>> PECKERWOOD.
>> IT REALLY GOT VERY, VERY
TENSE AND VERY REAL.
>> HE IS UNRAVELING.
AND THAT'S THE COMPLEXITY OF THE
PERFORMANCE.
HE'S GIVING VOICE TO THE ANGER,
BUT HE'S SHOWING HOW ANGER
UNMAKES YOU.
>> I THINK EVEN CHEVY CHASE WAS
STUNNED AT WHAT HAPPENED.
>> I THINK RICHARD ACTUALLY
SCARED CHEVY CHASE DURING THAT
SCENE.
>> JUNGLEBUNNY.
>> HONKY!
>> SPADE.
>> HONKY HONKY!
>> [ BLEEP ]
>> DEAD HONKY.
>> THEY WOULD HAVE CUT IT TODAY.
BUT IN THOSE DAYS, GOD,
THIS IS SOMETHING THAT NOBODY
HAD EVER SEEN BEFORE.
>> THERE WAS NOTHING ELSE ON TV
THAT USED THOSE WORDS.
>> ANYBODY WHO WAS A TEENAGER
BACK THEN COULD REPEAT THE
ENTIRE ROUTINE TO YOU.
WHICH IS A TESTAMENT TO THE
POWER OF THE SHOW.
>> HE WANTED TO GO AS FAR OUT AS
HE COULD, AND HE WENT AS FAR OUT
AS HE COULD.
WHEN HE WENT ON THE SHOW,
EVERYBODY WAS SAYING, YOU GOT TO
WATCH THIS RICHARD PRYOR GUY.
AND HE SAID, YOU KNOW, YOU THINK
I'M INSANE? WATCH THIS.
>> WELL, LOOK AT ME I'M STANDING
HERE NAKED.
>>> WHAT A BUSINESS.
COMEDY IS BIGGER THAN EVER.
THERE ARE NOW SOME 260 COMEDY
CLUBS AROUND THE COUNTRY.
YET THE COMEDY STORE REMAINS ONE
OF THE MOST IMPORTANT.
>> MICHAEL DUKAKIS!
SOUNDS LIKE SOME KIND OF DAMN
DISEASE, DOESN'T IT?
>> IN THE '70s, COMEDY BECAME
THE ROCK 'N' ROLL OF THAT ERA.
>> IMPROV WAS BEGINNING TO BLOW
UP. PLACES LIKE THE COMEDY STORE
WERE BECOMING GO‐TO PLACES IN
THE CULTURAL PANTHEON.
>> YOU STAND IN THAT BACK
HALLWAY THERE, AND THEN THE NEXT
COMIC GOES ON, AND THEY ROAR.
>> YOU GOT RICHARD PRYOR.
>> IT WAS JIMMIE WALKER.
>> YOU HAD STEVE MARTIN,
ROBIN WILLIAMS.
[ LAUGHTER ]
THEN YOU GO LET ME.
NO, THEY'RE FOR THE BABY.
>> AND ALL THESE PEOPLE WERE
JUST BLASTING OUT OF THE COMEDY
STORE, AND THEY WERE GETTING,
LIKE, SITCOMS.
AND THEY WERE BECOMING BIG STARS
OF THEIR TIME.
IT FELT IMPORTANT.
YOU KNOW, IT FELT LIKE THIS WAS
THE VOICE OF THE PEOPLE.
>> AMERICA WAS CHANGING,
BECOMING MORE DIVERSE, SO THE
NETWORKS WANTED TO REACH OUT AND
GRAB ON TO THIS NEW THING THAT
WAS RICHARD PRYOR.
BECAUSE HIS STAR WAS SO BIG AND
GROWING.
>> SO I ALWAYS HUNG OUT AT THE
COMEDY STORE, AND I FOLLOWED HIM
OUT THE PARKING LOT, AND HE
TURNS AROUND AND SAYS, WHAT DO
YOU WANT?
I SAID, WILL YOU DO A TV SPECIAL?
HE SAID, SELL IT.
AND HE WALKED AWAY. THAT WAS IT.
>> UP TO NOW WE'VE PAINTED A
PICTURE OF PRYOR BEING VERY IN
TUNE WITH THE CULTURE, RIGHT,
AND PUSHING THE ENVELOPE JUST
ENOUGH THAT NETWORKS ARE
RESPONDING TO HIM.
LIKE ANY ENTERTAINER, HE'S GOING
TO GET AHEAD OF BECAUSE HE'S
RUNNING FASTER THAN THE
NETWORK IS READY TO RUN BEHIND
HIM.
>> NONE OF US WOULD BELIEVE AT
THAT TIME THAT RICHARD PRYOR
WAS EVER GOING TO BE ON
TELEVISION.
THAT LITTLE BOX COULDN'T HOLD
RICHARD PRYOR.
>> AND WHAT HAPPENS IS, LIKE,
ONE OF THE MOST BEAUTIFUL AND
BIZARRE EXPERIMENTS IN ALL OF
TV HISTORY.
>> "THE RICHARD PRYOR SHOW" WAS
GOING TO BE A TV SERIES.
IT WAS A VARIETY SHOW.
>> IT WAS A STELLAR CAST OF
COMEDIANS.
YOU HAD SANDRA BERNHARD.
YOU HAD ROBIN WILLIAMS.
>> YOU GOT JOHN WITHERSPOON.
YOU GOT ME.
YOU GOT MARSHA WARFIELD.
IT WAS COMEDY GLADIATOR SCHOOL.
>> PRYOR REALLY INSISTED THAT
THE WRITERS' ROOM WOULD BE
DIVERSE, AND SO WHAT YOU SEE ON
TV IS A REFLECTION OF THAT, NOT
JUST IN THE CAST, BUT IN THE
KINDS OF STORIES THAT THEY'RE
DOING.
>> YOU HAVE THE RIGHT TO AN
ATTORNEY. ALL RIGHT, LET'S GO.
[ GUNSHOT ]
>> THEY WANTED FULL AUTONOMY.
NETWORKS DO NOT GIVE FULL
AUTONOMY. DOES NOT HAPPEN.
>> YOU BOUGHT A CONTROVERSIAL
ENTERTAINER WITH A VOICE.
I THINK NBC WOULD NATURALLY BE
A LITTLE NERVOUS THEY WERE GOING
TO PUSH THE BOUNDARIES IN
PRIMETIME.
>> THERE'S A REASON THEY'RE
CALLED THE SUITS AND EVERYBODY
WEARS A SUIT.
BECAUSE THAT'S WHAT THEY ARE.
WE KNOW THAT'S WHY WE'RE ON.
AND RICHARD SAID, "YOU DON'T
KNOW ME, OKAY?"
>> EVEN BEFORE THE SHOW CAME
OUT, THERE WAS A MEDIA BUZZ
ABOUT WHAT "THE RICHARD PRYOR
SHOW" WAS GOING TO BE.
WERE YOU GOING TO GET THE REAL
UNCENSORED RICHARD PRYOR?
>> THEY WERE AFRAID OF HIM.
THEY REALLY WERE.
I DIDN'T REALIZE AT THE TIME,
BUT THEY DIDN'T KNOW HOW TO
HANDLE HIM.
>> THAT BECAME A BIG PART OF THE
DRAMA OF THE SHOW, WAS RICHARD'S
WAR WITH THE NETWORK.
>> THE MOST FAMOUS SKIT IN THAT
SHOW NEVER EVEN AIRED.
>> SO, HERE'S THE OPENING.
>> GOOD EVENING, LADIES AND
GENTLEMEN, AND WELCOME TO
"THE RICHARD PRYOR SHOW."
>> THE SCENE WHEN HE WAS GOING
TO OPEN THE SHOW WAS LIKE
THROWING A HAND GRENADE INTO
A ROOM FULL OF PEOPLE.
>> YOU KNOW, THERE'S A LOT OF
THINGS WRITTEN ABOUT ME.
PEOPLE WONDERING IF I'M GONNA
HAVE A SHOW.
>> HE GOES, "IF YOU DO
TELEVISION, YOU HAVE TO GIVE UP
EVERYTHING."
>> WELL, LOOK AT ME.
I'M STANDING HERE NAKED.
I'VE GIVEN UP ABSOLUTELY NOTHING.
>> HEAD TO TOE, NO GENITALIA.
>> SO, ENJOY THE SHOW.
>> YOU KNOW, IN THE '70s?
I MEAN, THAT'S A SLAP THAT THEY
JUST HAD A HARD TIME ACCEPTING.
>> BUT WHAT I WANTED TO DO WAS
HAVE A POINT OF VIEW.
AND ANYBODY'S POINT OF VIEW IS
OBSCENE UNLESS SOMEBODY CAN
CENSOR IT.
YOU ASK ANY ONE OF THESE HUMAN
BEINGS HERE. YOURSELF.
YOU SAY WHAT YOU WANT TO SAY.
YOU CAN'T CENSOR PEOPLE'S STUFF,
MAN. YOU CAN'T CENSOR THE TRUTH.
>> DUE TO TECHNICAL
DIFFICULTIES, WE CANNOT CONTINUE
TO BRING YOU THE AUDIO PORTION
OF "THE RICHARD PRYOR SHOW."
HOWEVER, I'M AN NBC SPOKESMAN,
AND I WILL BE HAPPY TO TELL YOU
WHAT MR. PRYOR IS SAYING.
"I'M JUST PLEASED AS PUNCH TO BE
CONTINUING ON AS PART OF THE NBC
FAMILY."
>> YOU HAVE NO IDEA WHAT'S GOING
TO COME AT YOU.
>> ONE OF THE FIRST SKITS WE DID
WAS RICHARD PRYOR BEING THE
FIRST BLACK PRESIDENT.
>> THEN, JUST HAVING HIM STAND
THERE AS THE PRESIDENT OF THE
UNITED STATES WAS ALREADY THE
JOKE.
>> MR. PRESIDENT, SINCE YOU'VE
BECOME PRESIDENT, YOU'VE BEEN
SEEN AND PHOTOGRAPHED ON THE
ARMS OF WHITE WOMEN.
>> OOH! WHOO!
>> WILL THIS CONTINUE?
>> MM.
>> AS LONG AS I CAN KEEP IT UP.
>> HEY, BOY, OVER HERE.
YOU DON'T WANT ME.
>> HE'S SO GOOD AT VOICES THAT
HE CAN IMMEDIATELY MAKE WHATEVER
THIS OBJECT IS FEEL LIKE A
LIVING CHARACTER.
>> TOUCH ME, I'LL BLOW ALL YOUR
FINGERS OFF.
>> THOSE GUNS TALKING TO HIM,
WHEN WE DID IT, IT WAS 1977.
INSANE. THAT WAS HIS IDEA.
>> PEOPLE ENJOY KILLING EACH
OTHER.
>> YOU PUT THAT ON TV TODAY, NRA
WOULD GO NUTS.
I DON'T THINK YOU'D GET ON TV.
>> WELL, GOOD NIGHT, AND SEE YOU
NEXT WEEK.
>> THE FREEDOM OF US BEING IN
THAT SETTING AND GOING THERE
WITH THESE KINDS OF THINGS, THAT
PROBABLY WILL NEVER HAPPEN AGAIN
IN THE HISTORY OF TELEVISION.
>> SO, THE SHOW LASTS FOR FOUR
EPISODES.
>> THE RATINGS WERE NOT GOOD.
AND WE WERE AGAINST "LAVERNE AND
SHIRLEY" AND "HAPPY DAYS."
>> THOSE ARE THE SHOWS THAT
NETWORK TV COULD MARRY.
BUT THEY WANTED TO DATE
RICHARD PRYOR.
>> I DON'T KNOW HOW OR WHY IT
ENDED, AND RICHARD TOLD ME, YOU
EN WHY, [ BLEEP ] I WALKED.
>> YES, I'M VERY ANGRY.
I'M ANGRY BECAUSE I HAVE TO ASK
PEOPLE, MAY I DO THIS?
MAY I DO THIS KIND OF SCRIPT?
MAY I SAY THIS KIND OF JOKE?
>> BUT DON'T WE ALL, TO A DEGREE
IN LIFE, HAVE TO DO THAT?
>> I DON'T KNOW WHAT YOU HAVE TO
DO, AND THAT'S NOT MY PROBLEM.
I'M TALKING ABOUT WHAT MAKES ME
ANGRY IS THE FACT THAT, ACROSS
THE BOARD, IN MY MIND, THERE'S
NOBODY I'VE EVER MET IN THE
BUSINESS OF, LIKE, COMEDY WHO IS
ANY MORE BRILLIANT THAN ME.
AND I WILL NEVER GET THE
RECOGNITION FOR WHAT I DO.
>> HE WAS TORN, TORN ABOUT
STUFF, I GUESS. TORN IN SOME WAY.
HE WANTED TO BE EMBRACED BY HIS
CULTURE.
HE WAS A HUGE TALENT THAT COULD
JUST GO ANYWHERE, AND YET THAT
CULTURE WAS THE ANTITHESIS OF
WHO HE WAS IN HIS MOST
VULNERABLE SELF.
>> RICHARD CARRIED AN IMMENSE
AMOUNT OF TAMPED DOWN PERSONAL
RAGE.
>> HE FREEBASED EVERY DAY.
>>> HOLLYWOOD IS NUMBER ONE.
THAT'S WHERE PRYOR WANTS TO GO
AND WHERE PEOPLE WANT TO PUT
PRYOR.
>> THE APEX OF SHOW BUSINESS IS
BEING A MOVIE STAR, WHICH IS ON
THE OTHER END OF SHOW BUSINESS
WHERE HE'S A COMEDIAN.
YOU KNOW, MOVIE STAR, COMEDIAN.
>> HIS GREATEST FAME PEAKS IN
THE 1970s. HE BECOMES HUGE.
>> BEING SUCCESSFUL AS A BLACK
PERSON IN THE EARLY '70s IN
HOLLYWOOD, THERE WERE VERY FEW.
>> YOU HAD SIDNEY POITIER AND
YOU HAD, UM ‐‐
SIDNEY POITIER.
>> THE STUDIOS ARE CRUMBLING AND
THE ENTERTAINMENT HIERARCHY IS
TRYING TO FIGURE OUT WHAT TO DO.
>> I STARTED AT UNIVERSAL.
I'D JUST TURNED 23.
THEY WERE MAKING SIX MOVIES A
YEAR AND YOU WOULDN'T GO SEE ANY
OF THEM.
THEY HAD MOVIE STARS THAT I
THOUGHT WERE DEAD.
>> I THINK THEY WERE BEGINNING
TO SEE THAT THERE WAS A YOUNG
AUDIENCE OUT THERE,
AND THEY WANTED THAT YOUNG
AUDIENCE.
COMEDY IS A STAPLE AND RICHARD
WAS THE FUNNEST GUY AT THAT TIME.
>> I'M CRAZY ABOUT YOU BABY,
I'M‐A MAKE LOVE TO YOU TONIGHT,
BABY. YOU BETTER BELIEVE IT.
>> HE WAS DEEP INTO THE
MAINSTREAM.
HE WAS KNOWN TO EVERYBODY.
>> HE WANTED TO BE A STAR.
HE WANTED TO BE BIG.
>> HE THOUGHT THAT "LADY SINGS
THE BLUES" WOULD BE THE
BEGINNING OF A NEW RICHARD.
>> THIS IS A FRIEND OF MINE.
YOU'RE GOING TO LOVE IT.
>> HE'S ASKED TO PLAY PIANO MAN.
IT'S NOT EVEN A ROLE WITH A
NAME.
>> HE WAS HIRED FOR ONLY
$500 FOR THE FIRST DAY.
AND THAT WAS IT.
IT WAS SUPPOSED TO BE A ONE‐OFF.
AND EVERY DAY THEY HIRED HIM
BACK AND THEY REWROTE STUFF.
>> IT WAS A TINY LITTLE ROLE AND
HE EXPANDED IT TO WHAT IT WAS.
>> RICHARD LOVED HIS ROLE AS THE
PIANO MAN, BUT WHEN IT WASN'T
RECEIVED WELL, THAT BOTHERED
RICHARD A LOT.
>> WHAT I WANT TO DO IS, UH, DO
A MOVIE THAT'S SO TERRIFIC
THAT I WIN 13 ACADEMY AWARDS FOR
IT.
>> AND WHAT WOULD THAT SAY TO
YOU, IF YOU WON ALL THOSE
ACADEMY AWARDS?
RICHARD PRYOR'S GOOD?
>> THAT NOT ONLY DID I WIN IN MY
SPACE, BUT I WON IN YOUR SPACE.
>> YOU MEAN, WHITE PERSON'S
SPACE?
>> YEAH.
I WAS EXCELLENT ENOUGH THAT YOU
HAD TO ACCEPT ME.
I'M HERE TONIGHT TO EXPLAIN WHY
NO BLACK PEOPLE WILL EVER BE
NOMINATED FOR ANYTHING.
>> RICHARD PRYOR, FOR BETTER OR
WORSE, WAS A MOVIE STAR.
>> RICHARD WAS ALWAYS MY ACE
CARD.
IF RICHARD WOULD DO IT, IT WAS
AUTOMATICALLY HIP, DESIRABLE,
COOL.
>> IF RICHARD PRYOR WAS IN A
MOVIE, IT WAS A HIT.
>> WE DID "CAR WASH."
>> BECAUSE MONEY WALKS AND
[ BLEEP ] TALKS.
>> "WHICH WAY IS UP."
THAT MOVIE WAS DROP DEAD, FALL
ON THE FLOOR, DIE LAUGHING.
>> RICHARD DID ALL THREE
CHARACTERS.
>> YOU KNOW THAT CHICKEN I PUT
IN THE REFRIGERATOR LAST NIGHT?
WELL, I EXPECT TO FIND IT WHEN I
GET HOME.
>> HE'S IN THE WIZ.
HE'S IN SILVER STREAK, WHICH IS
HIS BUDDY MOVIE WITH GENE WILDER.
>> THE COMBINATION OF THEM
BUMBLING AROUND AND RIFFING OFF
EACH OTHER WAS REALLY, REALLY
FUNNY.
>> HOW ARE WE GOING TO GET ON
THE TRAIN?
>> THAT'S A GOOD QUESTION.
>> I STILL GOT THE GUN.
MAYBE I COULD START A DIVERSION.
>> YEAH, BLOW YOUR BRAINS OUT.
>> WHEN HE STARTED TO DO MOVIES
AND MAKE THESE BIG PAYCHECKS,
I THINK HE DID FEEL AS IF HE
WERE COMPROMISING.
>> THEY'RE PAYING ME $2 MILLION
TO DO THIS MOVIE.
DO YOU BELIEVE IT?
MY GRANDMOTHER DIDN'T MAKE THAT
ALL HER LIFE, AND SHE'S A BETTER
WOMAN THAN YOU ARE A MAN.
>> YOU WANT TO TALK ABOUT THIS
MOVIE IS THIS.
>> YEAH, SURE, WHAT DO YOU WANT
ME ‐‐
>> "STIR CRAZY."
>> IT SUCKS.
>> HE WANTED MANY THINGS.
LIKE ALL OF US, HE WANTED TO BE
LOVED.
HE ALSO WANTED TO BE FAMOUS.
SO WAS IT A COMPROMISE? OKAY.
BUT THE CHECKS CLEARED, AND AS
BEST I CAN TELL, HE CASHED EVERY
ONE OF THEM.
>> I THINK HE WANTS TO DO HIS
TYPE OF FILM, BUT THE PROBLEM IS
WE NEVER KNEW WHAT HIS TYPE OF
FILM WAS.
>> SOMETIMES I FEEL LIKE THERE'S
A PERSON RICHARD PRYOR, AND HE
DOES ALL THIS COMEDY AND STUFF,
AND THEN THERE'S ME, AND I
WONDER WHAT I HAVE TO DO WITH
RICHARD.
I FEEL LIKE I LIVE HIS HOUSE,
AND I DRY HIS CAR AND SPEND HIS
MONEY, BUT IT AIN'T ME, YOU KNOW?
IT'S NOT ME.
>> HE STARTED FEELING GUILTY
ABOUT HIS BIG SUCCESS.
IT MADE HIM FEEL LIKE HE WAS
BEING ACCEPTED BY WHITE SOCIETY,
WHICH CONFUSED HIM, IRRITATED
HIM, ANGERED HIM.
>> I DON'T THINK IT'S EASY TO BE
A CELEBRITY.
THAT KIND OF FAME, IT'S HUGE.
IT'S A BURDEN.
AND I THINK AT SOME POINT HE
LOST HIS WAY.
AND THEN HIS DRUG DEALER
INTRODUCED HIM TO FREEBASE,
WHICH WAS THE PIPE.
>> FREEBASING WAS A WAY TO
CONCENTRATE COKE.
>> OH, MY GOD.
THAT'S WHEN BASICALLY ALL HELL
BREAK LOOSE.
>> YOU HIT THAT PIPE, YOU GO,
OH, MANY I GOD. WHOA.
THIS IS ‐‐ OH. WHOO. WONDERFUL.
LET ME HAVE ANOTHER HIT OF THAT.
>> THE PIPE HAD AHOLD OF HIM.
COULDN'T LET GO.
>> THIS PIPE IS TO TELL ME WHEN
TO GO TO BED.
THE PIPE WOULD SAY, TIME TO GET
UP. TIME FOR SOME SMOKE, RICH.
COME ON, NOW.
WE ARE NOT GOING TO DO ANYTHING
TODAY.
[ BLEEP ] ALL YOUR APPOINTMENTS.
ME AND YOU WE'RE JUST GONNA HANG
OUT IN THIS ROOM TOGETHER.
>> HE STARTS MISSING SHOWS
MISSING DATES, MISSING WORK.
>> THEY BOUGHT HIM DRUGS TO GET
HIM IN FILMS, THEY BOUGHT DRUGS
TO KEEP HIM ON A FILM.
I'M TALKING TWO POUNDS OF STUFF.
>> I DON'T KNOW NOTHING.
DO YOU UNDERSTAND ME?
I DON'T KNOW.
[ BLEEP ].
I'M LUCKY.
>> HE DISAPPEARED.
RICHARD WASN'T HOME ANYMORE.
HE TALKED ABOUT HAVING OUT OF
BODY EXPERIENCES, SEEING ALIENS
LOOKING IN THE WINDOW.
>> THAT WAS THE DRUG.
HAD AHOLD OF HIM.
>> WE COULD HAVE HAD IT ALL,
LIKE THAT SONG SAYS.
AND BECAUSE OF THE DRUGS,
WE DIDN'T. WE LOST IT.
WE LOST IT.
>> COMEDIAN RICHARD PRYOR IS IN
CRITICAL CONDITION TONIGHT AND
GIVEN LESS THAN A 50% CHANCE OF
SURVIVING AFTER SUFFERING THIRDS
OWN OVER HALF OF HIS BODY.
>>> ONE NIGHT, WE'RE HEADING
OVER THE CANYON TO GO HOME, AND
HE DOES A U‐TURN.
A FEW MINUTES LATER, WE PULL
INTO THE COMEDY STORE PARKING
LOT.
>> THIS WAS THE PLACE THAT HE
CAME WHEN HE WANTED TO DO HIS
STUFF FROM SCRATCH.
EVERY TIME HE CAME IN, IT WAS
LIKE JESUS CHRIST WAS SHOWING UP.
>> HE SITS ME DOWN AT A TABLE,
AND HE WALKS ON STAGE.
AND I JUST INSTINCTIVELY STARTED
TAKING NOTES.
AND AT THE END OF A COUPLE OF
MONTHS, HE HAD LIVE IN CONCERT.
>> THERE WAS NO SUCH THING AS
A FILMED COMEDY SPECIAL BEFORE
"LIVE IN CONCERT."
>> THERE ARE POINTS IN RICHARD
PRYOR'S CAREER YOU CAN POINT AND
SAY, THAT WAS BIG.
"LIVE IN CONCERT", RICHARD
PRYOR, WAS HUGE.
>> IT SHAPES EVERYTHING ABOUT
WHAT STANDUP IS FOR THE NEXT
SEVERAL DECADES, BECAUSE EVERY
STANDUP COMEDIAN LEARNS FROM
THAT PERFORMANCE.
>> IT IS RICHARD PRYOR IN FULL
FLOWER, IN FULL POWER.
>> WHAT YOU TAKING MY PICTURE
FOR?
WHO YOU GON SHOW IT TO
I GOT A PICTURE OF RICHARD PRYOR!
WHO GIVES A [ BLEEP ]?
>> IT'S A MOMENT WHEN HE HAS A
KIND OF A DIFFERENT APPROACH TO
CHARACTER, IN WHICH THE MAIN
CHARACTER IS HIMSELF.
>> ANYONE HERE EVER HAVE A HEART
ATTACK? THEM [ BLEEP ] HURT
I'M NOT [ BLEEP ] MAN.
I WAS WALKING IN THE FRONT YARD.
I WAS JUST WALKING ALONG AND
SOMETHING SAID, DON'T BREATHE.
>> HE RE‐CREATES THE HEART
ATTACK HE HAD.
>> NOW YOU'RE THINKING ABOUT
DYING, AREN'T YOU?
YEAH, I'M THINKING ABOUT DYING.
I'M THINKING ABOUT DYING.
YOU DIDN'T THINK ABOUT IT WHEN
YOU WERE EATING ALL THAT PORK!
>> THEM STORIES WAS LONG, THEY
WAS DRAWN OUT.
AND THEY WAS COLORFUL AND
IMAGINATIVE.
YOU COULD SEE IT ALL.
IT WAS GOOD.
>> ONE ROUTINE RICHARD DID,
WHICH REALLY EMBODIES SO MUCH,
IS THE WHITE MAN'S VOICE.
>> HE ALWAYS HAD A WHITE GUY
VOICE. IT JUST MADE ME LAUGH.
>> WEREN'T WE SITTING HERE?
WE WERE SITTING HERE, WEREN'T WE?
YES, WE WERE SITTING HERE.
>> WHITE PEOPLE WENT CRAZY FOR
"LIVE IN CONCERT."
>> IN A WORLD THAT WAS STILL
SOMEWHAT SEGREGATED, HE WAS THIS
FANTASTIC BRIDGE FOR A PERIOD OF
TIME BETWEEN THESE TWO
COMMUNITIES.
>>U NOT GOING TO DO ANYTHING
FUNNY, ARE YOU?
>> RICHARD HELD UP A MIRROR TO
THEM "THIS IS WHO YOU ARE.
LAUGH AT YOURSELVES, YOU CAN
LAUGH, BUT KNOW YOURSELF."
>> LIVE IN CONCERT DID MUCH
BETTER THAN ANYBODY THOUGHT.
IT MADE A HUGE AMOUNT OF MONEY.
>> BY THE END OF THE 1970s,
RICHARD PRYOR IS ON THE TOP OF
THE ENTERTAINMENT WORLD.
BUT THERE'S A PROBLEM LURKING IN
THE BACKGROUND.
HE KNOWS ABOUT IT, THE PUBLIC
DOESN'T.
>> PRYOR IS IN THE THROES OF
THIS ADDICTION TO COKE AND TO
FREEBASE.
AND HE ENDS UP BURNING HIMSELF
TERRIBLY WHILE FREEBASING, AND
IT BECOMES A HUGE, HUGE STORY.
>> I SAW RICHARD JUST ONLY A FEW
HOURS BEFORE HE BURNT UP.
HE WAS COMPLETELY OUT OF HIS
MIND.
>> HIS AUNT WAS THERE, AUNT DEE,
AND I SAID, "HE'S GOING TO HURT
HIMSELF."
AND THEY BASICALLY POOH‐POOHED
ME AND SAID, GET OUT OF HERE.
I WALKED OUT.
I KNEW HE WAS GOING HURT HIMSELF.
HE SAID, I MADE MY MIND UP.
>> HE CALLED ME IN HAWAII.
HE WANTED MANY A TO COME TO
LOS ANGELES AND COP SOME DRUGS
FOR HIM.
AND HE TALKED ABOUT, I CAN'T GO
ON LIKE THIS.
I MEAN, I HAVEN'T SLEPT FOR FOUR
OR FIVE NIGHTS.
AND I SAID I WASN'T GOING TO DO
THAT, I COULDN'T DO THAT.
>> THERE WAS NO REALITY AT ALL.
NONE.
ZERO, GONE.
>> HE SAID THAT HE WAS JUST
GOING KILL HIMSELF.
>> HE HAD THE PIPE IN ONE HAND
AND THE TORCH IN THE OTHER HAND.
HE WAS DUNKING THE TORCH INTO
THE RUM BOTTLE.
AND HE WAS SO ADDICTED AT THIS
POINT, HE COULDN'T PUT THE PIPE
DOWN.
HE COULDN'T PUT THE TORCH DOWN
EITHER, BECAUSE HE DIDN'T WANT
TO MISS A HIT.
IF THE TORCH WAS STILL LIT IN
ANY WAY, HOT EVEN, INTO A
BOTTLE, BOOM.
>> WE WERE LOOKING AT SOME
SPECIALS.
THEY WERE TALKING ABOUT VIETNAM.
AND WE WAS LOOKING AT THE MONK
THAT DOUSED HIMSELF IN GASOLINE,
AND HE LIT THE FLAME.
AND I SAID TO RICHARD, "LOOK AT
THIS MAN'S COMMITMENT."
AND IN RICHARD PRYOR FASHION,
HE SAID, "AND HE DIDN'T EVEN
FLINCH," WHICH MADE US LAUGH.
>> A FEW HOURS LATER, HE CAUGHT
ON FIRE.
♪♪
>> I DIDN'T HEAR A SCREAM OR
NOTHING FROM RICHARD.
IT WAS JUST A BALL OF FLAME
COMING DOWN THE HALLWAY.
AND I COULD LOOK OUT HIS BEDROOM
WINDOW AND SEE RICHARD RUNNING
DOWN THIS LONG DRIVEWAY IN A
FLAME.
>> DO YOU KNOW WHY YOU WERE
RUNNING?
>> I WAS RUNNING BECAUSE I
DIDN'T WANT TO DIE SITTING DOWN.
I JUST WANTED TO RUN OUT.
>> LATER ON WE FOUND OUT THAT
THE REASON IT DIDN'T KILL HIM ON
THE SPOT IS BECAUSE HE HAD LIKE
23 GRAMS OF COCAINE IN EVERY
PART OF HIS BODY.
SO HE DIDN'T FEEL THE PAIN OF IT.
>> COMEDIAN RICHARD PRYOR IS IN
CRITICAL CONDITION TONIGHT AND
GIVEN LESS THAN A 50/50 CHANCE
OF SURVIVING AFTER SUFFERING
THIRD‐DEGREE BURNS OVER HALF OF
HIS BODY.
>> POLICE SAID PRYOR WAS BURNED
BECAUSE SOME ETHER AND COCAINE
HE WAS USING IN HIS BEDROOM
CAUGHT FIRE.
>> I WENT TO THE HOSPITAL AND I
SAID, HE'S FULL OF DRUGS AND
VODKA.
HE COULD OVERDOSE IF THEY GIVE
HIM A SHOT OF MORPHINE.
>> HE WAS SEVERELY BURNED.
I THINK OVER 50%, 60% OF HIS
BODY.
>> WE DON'T KNOW IF HE'S GOING
TO LIVE OR DIE.
IT'S A MOMENT BY MOMENT THING.
MY PHONE RINGS.
I SAID, HELLO, HELLO.
"THOM, THOM." I SAID, "RICHARD?"
HE SAID, "THOM, HELP ME."
>> WE SWEPT THE HOUSE AND GOT
ALL THAT JUNK OUT OF THERE
BEFORE WE LET IN THE LAPD.
WE HAD MAYBE 10 OR 12 GUNS.
WE HAD EVERY CONCEIVABLE KIND OF
DRUG.
>> POLICE OFFICIALS AND FIRE
OFFICIALS WERE CLIMBING THE
FENCE AT RICHARD PRYOR'S
SUBURBAN LOS ANGELES HOME
WEDNESDAY.
>> LAPD CAME IN, THEY DIDN'T
FIND ANYTHING WRONG.
SO RICHARD DIDN'T GET CHARGED
WITH DRUG OFFENSES.
>> I KNEW I WASN'T GOING TO DIE.
THERE WAS NO DOUBT IN MY MIND.
BUT YOU CAN'T MOVE.
YOU CAN'T MOVE.
IT HUMBLES YOU AND MAKES REALIZE
THE GREATER THINGS IN LIFE.
FRIENDSHIP.
>> I WENT TO SEE HIM, AND I
WALKED IN AND I REMEMBER
THINKING, "AH, THIS IS A CHANGED
MAN."
SOMETHING HAD BURNED OUT OF HIM.
I WASN'T SURE WHAT IT WAS.
I THINK THAT HE BECAME MUCH MORE
AFRAID IN SOME WAYS OF HOW
FRAGILE IT ALL WAS, INCLUDING
HIS OWN PSYCHE, BECAUSE HE DID
THAT TO HIMSELF.
>> MY UNDERSTANDING IS THAT IT
WAS AN ACCIDENT, THAT RICHARD
WAS HIGH AS A KITE.
>> I TRIED TO COMMIT SUICIDE.
>> INTENTIONALLY?
>> THAT'S ALL I WANT TO SAY.
>>> WE WERE LIVING IN HAWAII
AT THE TIME.
WE HAD JUST GOTTEN MARRIED,
AUGUST 16, 1981.
THE LAWYER CAME DOWN AND SAID,
IT'S YOUR TIME, RICHARD.
AND I SAID, NO, YOU HAVE TO
CHILL.
WE NEED TO STAY HERE, RICHARD,
AND NOT GET BACK ON THE BAND
WAGON.
>> I CHECKED INTO THIS HOTEL,
AND I KNOCKED ON THE DOOR.
AND I COULD SEE ALL THE SCARRING
ON HIS LEGS, ON HIS CHEST, ON
HIS ARMS.
FIRST WORDS OUT OF HIS MOUTH
WERE, "DON'T WORRY SKIP, IT
DIDN'T GET MY JUNK."
AND THEN HE SAYS, "WELL, I'M
ALSO BROKE."
>> HE CAME BACK TO SOON.
ALL THE PEOPLE LOOK AT THAT AND
GO, THAT'S THE ULTIMATE FILM"
LIVE OWN SUNSET." BUT NOT FOR ME.
>> RICHARD WAS ACTUALLY VERY
EXCITED TO GO BACK TO WORK.
HE LOVED WORKING.
SO I SAID, "WELL, YOU CAN GO ON
THE ROAD, AND THEN WE'LL FILM
IT, AND WE'LL SELL IT AS A
MOVIE."
[ LAUGHTER ]
>> I THINK THAT FOR RICHARD, HIS
TALK THERAPY WAS ON STAGE.
YOU KNOW, THAT WASN'T ALWAYS
A SAFE PLACE, EITHER.
AFTER THE FIRE, I THINK IT
BECAME MORE OF A SCARY PLACE
FOR HIM.
>> HE COULDN'T FIND HIMSELF.
>> I WAS STILL AFFLICTED WITH
THE SAME OLD PROBLEMS.
THE SCARS I NOW HAD ON THE
OUTSIDE ONLY MIRRORED THE ONES
I'D HAD ON THE INSIDE MY ENTIRE
LIFE.
>> THERE WAS A LOT OF PRESSURE
IN THE COMEBACK, BECAUSE THIS
WAS A PATHWAY TO BOTH GET HIM
OUT OF THE FINANCIAL PROBLEMS HE
WAS IN AS WELL AS GETTING BACK
INTO THE MOVIE BUSINESS.
>> HE WAS VERY NERVOUS ABOUT IT.
>> THIS IS A GUY WHO NEARLY
KILLED HIMSELF.
AND SO THIS WAS GREAT CURIOSITY.
>> PEOPLE WANTED TO KNOW WHAT HE
LOOKED LIKE.
>> WHAT VERSION OF RICHARD PRYOR
WILL WE SEE THIS TIME?
>> THE FIRST NIGHT HE CRACKED
UP.
>> IT WAS THE WORST PERFORMANCE
EVER. EVERYTHING WAS OFF.
THE PUNCHLINES WASN'T THERE.
>> HE WALKED OUT ON STAGE AND
SAID, "I CAN'T DO IT.
>> I WANT IT TO BE SOMETHING
ELSE. IT'S JUST NOT THERE.
>> I DON'T KNOW WHY I'M HERE,
PEOPLE. I'M NOT DOING IT.
AND HE WALKED OFF.
>> AND HE CAME BACK THE NEXT
NIGHT, AND HE KILLED IT.
>> LADIES AND GENTLEMEN, LIVE ON
THE SUNSET STRIP, RICHARD PRYOR.
>> I REMEMBER HIM COMING ON
STAGE.
HE STILL HAD THE SCARS, AND THEY
WERE ‐‐ THIS WERE VERY APPARENT
AND VERY FRESH.
>> HE LIGHTS A MATCH AND SAYS,
WHAT'S THIS?
RICHARD PRYOR RUNNING DOWN THE
STREET.
>> THE AUDIENCE WENT WILD THAT
HE WAS MAKING A JOKE ABOUT
SOMETHING LIKE THAT.
>> USUALLY BEFORE I GO TO BED, I
HAVE MILK AND COOKIES.
AND ONE NIGHT, I HAD SOME
LOW‐FAT MILK AND SOME
PASTEURIZED.
AND I MIXED THEM TOGETHER AND I
DIPPED MY COOKIE, AND THE
[ BLEEP ] BLEW UP.
>> HE TOLD A JOKE, HE DIDN'T
TELL THE TRUTH.
>> HE MADE IT SEEM LIKE AN
ACCIDENT, WHEN WE KNOW LATER IT
WASN'T AN ACCIDENT.
>> YOU'RE THE CELEBRITY, PEOPLE
TEND TO THINK IF YOU MAKE ALL OF
THIS MONEY, NOTHING HURTS YOU OR
THAT YOU CAN TAKE CARE OF IT.
>> I TRIED TO COMMIT SUICIDE.
>> IT DIDN'T WORK.
>> YES, IT DID.
>> YOU KILLED THE OLD RICHARD
PRYOR?
>> YEAH, THAT PERSON'S DEAD.
HE WAS A HORRIBLE MAN.
>> I THINK RICHARD PRYOR'S
EXPERIENCE, THAT MOMENT WHERE HE
NEARLY DIED CHANGED HIM.
HE TALKS ABOUT HIS TRIP TO
AFRICA AND HOW HE HAD A
REVELATION ABOUT THE USE OF THE
N WORD.
>> I WAS SITTING AROUND AND A
VOICE SAID TO ME,
"LOOK AROUND, WHAT DO YOU SEE?"
I SAID, "I SEE ALL COLORS OF
PEOPLE DOING EVERYTHING."
AND THE VOICE SAID, "DO YOU SEE
ANY [ BLEEP ]?" I SAID, "NO."
AND IT SAY, "YOU KNOW WHY?
BECAUSE THERE AREN'T ANY."
>> WHEN WE CAME BACK TO AMERICA,
HE SAID, I'M NOT USING THAT WORD
ANYMORE.
A LOFT PEOPLE HAD A HARD TIME
WITH IT.
OH, YOU'RE FORGETTING WHERE YOU
COME FROM, BROTHER, YOU'RE YOU
KNOW, WHAT ARE YOU DOING?
YOU'RE SELLING OUT.
>> HE DIDN'T WANT TO BE A
MEGAPHONE.
HE WANTED TO BE THIS OR HIS WHO
IS ON THEIR OWN JOURNEY.
>> NOW WHAT ARE YOU GOING TO DO,
RICHARD?
>> THERE'S A WHOLE PERIOD OF
YEARS WHERE HE BECOMES
INCREDIBLY THIN.
>> I THINK I WAS THE FIRST
PERSON HE TOLD AFTER THAT HE WAS
DIAGNOSED. HE SAID, I HAVE M. S.
HE CONTINUED TO WORK FOR ANOTHER
THREE OR FOUR YEARS.
HE'D SHAKE A LITTLE, HE HAD
TROUBLE WALKING.
AND THAT'S WHEN BASICALLY HIS
MOTION PICTURE CAREER ENDED.
>> RICHARD.
>> HEY, RICHARD!
HOW ARE YOU?
>> THE PARTY WAS OVER.
THE BIG CHECKS WERE NOT COMING
IN ANYMORE.
THE PILES OF COCAINE WERE GONE.
I BELIEVE HE WANTED TO BE ABLE
TO LOOK AT HIS LIFE AND FEEL
GOOD ABOUT IT.
SO IN '95, '96, HE WENT BACK TO
THE COMEDY STORE.
>> THERE WAS STILL THE SPIRIT OF
RICHARD PRYOR INSIDE OF THERE.
>> ONE WAY OR THE OTHER.
>> LIKE GILLS ON A FISH, BEING
ON THAT STAGE WAS WHAT MATTERED
TO RICHARD.
>> RICHARD PRYOR DIED THIS
AFTERNOON OF A HEART ATTACK AT
HIS HOME IN CALIFORNIA.
HE WAS 65.
>> I KNOW I'M HARD TO GET ALONG
WITH.
I KNOW THAT BECAUSE I MIGHT WAKE
UP IN THE MORNING AND GO, HEY,
WAKE UP.
WHAT WAS THAT [ BLEEP ] YOU SAID
LAST FEBRUARY?
>> I LOVE WATCHING RICHARD
PRYOR.
HE SEEMED LIKE SOMEBODY WHO
WOULD BE WALKING AROUND HERE NOW.
YOU KNOW WHAT I MEAN?
HE WAS THAT AHEAD OF HIS TIME.
>> IF YOU SEE THE COMEDY OF
CHRIS ROCK OR DAVE CHAPPELLE OR
EDDIE MURPHY, HE SET THE STAGE
FOR MODERN COMEDY.
>> THIS IS AN ELECTION YEAR.
WE GOT TO BE SERIOUS.
EVERY ABLE‐BODIED
AFRICAN‐AMERICAN MUST REGISTER
FOR A LEGAL FIREARM.
>> AS I WATCHED YOUNG COMICS
COME UP AND RISE, EVERYBODY HAS
A LITTLE TWINKLE OF THAT
RICHARD PRYOR.
HE KIND OF INSPIRED ME TO LOOK
FOR THE FUNNY IN THE LEAST
FUNNIEST MOMENTS OF MY LIFE.
>> LAUGHTER IS GREAT MEDICINE,
RIGHT? AND SO IN THAT WAY,
RICHARD PRYOR WAS A GREAT DOCTOR.
>> IF I CAN TURN MY PAIN INTO
JOY ‐‐
[ LAUGHS ]
THAT'S WHAT I WANT.
THAT'S THE ART OF HUMOR.
>> TO LAUGH IS GREAT.
IT'S ONE OF THE GREATEST THINGS
THERE IS.
SOMEBODY CAN MAKE YOU LAUGH, YOU
WILL REMEMBER THAT PERSON. I DO.
I REMEMBER PEOPLE THAT MAKE ME
LAUGH ALL THE TIME.
♪♪
>> TODAY, I WONDER WHAT
RICHARD PRYOR WOULD BE DOING
TODAY. YOU CAN'T JOKE.
YOU CAN'T SAY ‐‐
>> POLITICALLY CORRECT.
PBHT.
>> I THINK A PC BE DAMNED,
PRYOR IN THIS TIME WOULD HAVE
BEEN ABLE TO SAY ANYTHING HE
WANTED TO SAY BECAUSE THERE WAS
TRUTH BEHIND IT.
I DON'T THINK HE WOULD HAVE HAD
TO CHANGE A DAMN THING.
>> THE LEGACY OF RICHARD PRYOR
IS ‐‐ I HOPE IT'S THE COURAGE TO
SEARCH FOR TRUTH IN COMEDY, AND
THERE ARE VERY FEW PEOPLE WHO
ARE WILLING TO MAKE THAT JOURNEY.
>> WHATEVER YOU FEEL ABOUT ME
WHEN YOU SEE ME RIGHT NOW IS THE
TRUTH AND DON'T EVER FORGET IT.
JUST LOOK AT ME WITH YOUR HEART.
THAT'S ALL I ASK.
♪♪
ABOUT RICHARD PRYOR?
>> REBEL. TABOO.
>> FUNNEST PERP ON THE PLANET.
>> UNSENSORED.
>> OH, MY GOD.
>> LEGEND.
>> EVERYTHING.
>> YOU NEVER KNEW WHAT WAS GOING
TO HAPPEN BECAUSE HE WAS RICHARD
PRYOR.
>> DUN DUN DUN.
>>> FOR THE FIRST TIME IN
TELEVISION, RICHARD PRYOR.
>> I'M FROM THE AVERAGE TYPE
FAMILY, ELEVEN KIDS.
NO MOTHER OR FATHER, JUST KIDS.
>> RICHARD WAS BRUTALLY HONEST.
>> I KNOW I'M HARD TO GET ALONG
WITH.
I KNOW THAT BECAUSE I MIGHT WAKE
UP IN THE MORNING AND GO, HEY,
WAKE UP.
WHAT WAS THAT [ BLEEP ] YOU SAID
LAST FEBRUARY?
>> HE CHANGED THE WAY PEOPLE
THOUGHT ABOUT BLACKS, WHITES,
THEMSELVES.
>> THEY CALL IT AN EPIDEMIC NOW.
THAT MEANS WHITE FOLKS ARE DOING
IT.
>> HIS LIFE CHALLENGED THE
STATUS QUO, HIS COMEDY
CHALLENGED THE STATUS QUO.
>> YOU CAN'T EVEN TALK LIKE THAT
NOW.
>> YOU EVER NOTICE HOW NICE
WHITE PEOPLE GET WHEN THERE'S A
BUNK BUNCH OF [ BLEEP ] AROUND?
THEY GET OUTSIDE THEY TALK TO
EVERYBODY. SAY HI, HOW YOU DOING?
I DON'T KNOW YOU BUT HERE'S MY
WIFE. HELLO!
>> HE WAS REPRESENTING A GROUP
OF PEOPLE, AN ERA, A STRUGGLE, A
TIME.
>> I JUST LOVED HIM, IMMEDIATELY
AND IMMENSELY.
>> BEFORE THERE WAS YOUTUBE,
BEFORE THERE WAS DIGITAL, BEFORE
ANY OF THAT, THERE WAS RICHARD
PRYOR.
>> WE WENT, WOW.
AND THEN LIKE A COMET, IT FLAMED
OUT.
>> COMEDIAN RICHARD PRYOR IN A
CRITICAL CONDITION TONIGHT AND
GIVEN LESS THAN A 50/50 CHANCE
SURVIVING AFTER SUFFERING
THIRD‐DEGREE BURNS OVER HALF OF
HIS BODY.
>> HE WAS IN A DRUG PSYCHOSIS.
I WAS THERE.
AND OF COURSE, IT ENDED UP AS A
SUICIDE ATTEMPT.
>> I WOKE UP IN AN AMBULANCE,
RIGHT?
AND IT WASN'T NOTHING BUT WHITE
PEOPLE STARING AT ME.
I SAID AIN'T THIS A BITCH.
I DONE DIED AND WOUND UP IN THE
WRONG [ BLEEP ] HEAVEN.
>> THE FIRST TIME I MET HIM,
I FELL MADLY IN LOVE.
AND WHAT WAS IT THAT I WAS
ATTRACTED TO WAS HIS
VULNERABILITY.
>> SOMETIMES I FEEL LIKE THERE'S
A PERSON, RICHARD PRYOR, AND HE
DOES ALL THIS COMEDY, HE DOES
ALL THIS STUFF, AND THEN THERE'S
ME, AND I WONDER WHAT I HAVE TO
DO WITH RICHARD.
>> IT TAKES A LOT OF COURAGE TO
BE A COMIC.
>> I LIVED IN A NEIGHBORHOOD OF
A LOT WHOREHOUSES, NOT MANY
CANDY STORES OR BANKS, LIQUOR
STORES AND WHORE HOUSES.
>> YOU HAVE TO EXPOSE YOUR SOUL
IN WAYS THAT ARE DANGEROUS TO
YOU, AND NOT EVERYONE SURVIVES.
>> WHEN CRITICS SAY THAT YOU'RE
YOU'RE A GENIUS, DO YOU SAY,
YEP, THAT'S ME?
>> I ALWAYS THINK ABOUT WHAT MY
FATHER CALLED ME.
>> WHAT DID YOUR FATHER CALL
YOU? NOT THAT.
>> DUMB SON OF A BITCH.
BUT THE REALITY OF WHAT I AM HAS
NOTHING TO DO WITH WHAT THEY SAY.
>> HE APPEARS ON THE RUDY VALLEY
SHOW, ON BROADWAY TONIGHT, IT'S
HIS TV DEBUT, AND HE SAYS THAT
HE'S GOING TO TALK ABOUT HIS
LIFE.
>> HE TELLS A COMPLETE STORY
ABOUT HIS FAMILY BACKGROUND AND
WHERE HE COMES FROM.
>> I HAD A WILD NEIGHBORHOOD,
I GOT TO TELL YOU, BECAUSE MY
MOTHER'S PUERTO RICAN, AND MY
FATHER IS A NEGRO, AND WE LIVE
IN A REAL BIG JEWISH TENEMENT
BUILDING, IN AN ITALIAN
NEIGHBORHOOD.
EVERY TIME I GO OUTSIDE THESE
KIDS SAY "GET HIM!
HE'S ALL OF 'EM!"
>> BUT IN FACT HE JUST MAKES UP
AN ALTERNATIVE RICHARD PRYOR.
>> HE WASN'T TO MY KNOWLEDGE
PART PUERTO RICAN.
HE WAS FROM PEORIA, ILLINOIS,
OF FULL AFRICAN DESCENT AND
RAISED BY MESSED UP PEOPLE.
>> AND I THINK ONE REASON HE
DIDN'T TELL PEOPLE THE TRUTH
ABOUT HIS BACKGROUND IS BECAUSE
HE KNEW THEY COULDN'T TAKE IT.
>> THAT WILL BE THE STRUGGLE FOR
HIM IS TO FIGURE OUT A WAY THAT
HE CAN BE A COMEDIAN OR
PERFORMER AND TELL THE TRUTH
ABOUT HIS LIFE.
>> I REMEMBER WHITE PEOPLE USED
TO COME DOWN HERE, DO YOU HAVE
ANY GIRLS THAT COVER YOU WITH
ICE CREAM?
AND LITTLE BOYS THAT LICK IT OFF?
HE WAS THE MAYOR.
>> I HEARD IN THE ALBUMS FIRST,
THAT'S HOW I HEARD IT.
UP UNTIL THAT POINT, THOSE WERE
JOKES.
HE TOLD THE JOKES ABOUT WHORE
HOUSES AND ALL THOSE THINGS.
UNTIL I WENT PEORIA AND ACTUALLY
SEEN IT, AND YOU GO, OH, IT'S
REAL.
>> DECEMBER 1, 1940.
I WAS BORN RICHARD FRANKLIN
LENNOX THOMAS PRYOR III.
I GOT NAMES FROM PIMPS AND
GANGSTERS AND ALL THAT.
BUCK CARTER'S SON.
I COME FROM ROUGH STOCK.
>> IF HELL HAD A ZIPCODE, IN
1940s AMERICA, IT WOULD HAVE
BEEN PEORIA, ILLINOIS.
EVERY VICE KNOWN TO MAN WAS
COMMONPLACE THERE.
>> AND THE REASON THIS IS
IMPORTANT IS BECAUSE THIS IS HOW
HIS GRANDMOTHER CREATES HER
LIVELIHOOD.
>> IS IT TRUE THAT YOUR
GRANDMOTHER RAN A ‐‐ A HOUSE OF
PROSTITUTION?
>> SEVERAL.
ABOUT THREE. WHOREHOUSES.
WHITE FOLKS HAD HOUSES OF
PROSTITUTION.
AND BLACK PEOPLE HAD WHOREHOUSES.
>> SHE WAS THE CHIEF MADAM.
>> SHE WAS THE MADAM, NOT THE
CHIEF MADAM.
>> OKAY, SHE WAS THE MADAM.
>> THERE WERE NO OTHERS.
MY GRANDMA WAS TOUGH.
>> THOSE WERE CALLED FAMILY
BUSINESSES BACK IN THOSE DAYS.
WHOREHOUSES THAT WERE BEING RUN
BY FAMILIES, AND RICHARD WAS
JUST ONE OF THEM.
>> THOSE WERE IN THE DAYS WHEN
THE WOMEN USED TO PECK ON THE
WINDOW WITH QUARTERS.
FOR PEOPLE, CUSTOMERS. HELLO.
HEY, SWEETIE, BABY.
THEY'D BE TALKING THROUGH THE
WINDOW.
NOBODY COULD HEAR THEM ON THE
STREETS.
>> HE GROWS UP AS THE CHILD OF A
PROSTITUTE.
A FATHER WHO'S A PIMP.
THERE'S CRIMINALITY ALL
THROUGHOUT HIS LIFE.
>> I MEAN, THAT WAS A BROTHEL
WHERE HE WATCHED WHITE MEN COME
AND KNOCK ON THE DOOR.
"HELLO, IS YOUR MOTHER HOME?"
>> ON ONE OF HIS ALBUMS HE SAID,
THE LIPS THAT KISSED HIM GOOD
NIGHT HAD JUST PERFORMED ORAL
SEX ON SOMEBODY.
>> I COULD HAVE BEEN PREJUDICED.
I COULD HAVE BEEN PREJUDICED.
I COULD HAVE BEEN, MAN, BUT I
MET NICE WHITE MEN.
HELLO, LITTLE BOY, IS YOUR
MOTHER HOME?
I'D LIKE A [ BLEEP ].
>> IF YOU HAVE TO TELL SOMEONE
STRAIGHT WHAT YOUR CHILDHOOD WAS
LIKE, DESCRIBE IT.
>> IT WAS HELL.
BECAUSE I HAD NOBODY TO TALK TO.
I WAS A CHILD, ALL RIGHT, AND I
GREW UP SEEING MY MOTHER GOING
TO ROOMS WITH MEN AND MY AUNTIES
GOING TO ROOMS WITH MEN, YOU
UNDERSTAND?
WHEN I PEEKED THROUGH THE
KEYHOLES AND I PEEKED OVER THE
TRANSIT, BUT I NEVER UNDERSTOOD
IT UNTIL THIS DAY.
AND IT MESSED ME UP.
>> RICHARD FOUND OUT WHERE A LOT
OF THE RAGE AND PAIN CAME FROM,
AND IT WAS PEORIA.
>> TO NOT TOTALLY DECAY AND BE
FULL OF HATRED WITH THOSE
EXPERIENCES AND TO TURN IT INTO
COMEDY, THERE'S JUST A GENIUS
THERE.
THERE'S A GENIUS INSIDE THE
LITTLE MOTOR CONTROL THAT YOU'VE
SEEN IN CARTOONS WITH THIS WHOLE
CREW INSIDE A PERSON'S BRAIN.
>> THROUGH THE FORCE OF HIS
IMAGINATION AND THE FORCE OF HIS
WILL, HE MAKES A WORLD FOR
HIMSELF.
>> WHO IS CHARLIE EGGER?
>> CHARLIE EGGY.
>> CHARLIE EGGY.
>> THAT'S MY MAGIC FRIEND.
I MADE HIM UP.
WE USED TO PLAY TOGETHER.
SEE, I AM THE SECRET PRINCE.
MY MOTHER IS QUEEN U, AND MY
FATHER IS KING WHO.
MY FATHER LIVE ON LILY PAD WITH
A FROG NAMED JIPPIDY‐DOO.
SO THAT'S WHAT YOU GET WHEN
YOU'RE THE SECRET PRINCE.
YOU HAVE TO BE MAGIC.
AND YOU PUT MAGIC DUST ON PEOPLE.
>> DO YOU PUT MAGIC DUST ON
PEOPLE?
>> YES, MA'AM.
>> ARE YOU MAGIC?
>> I'M MAGIC. I'M MAGIC.
>> WHO BELIEVED IN YOU?
WHO CARED ABOUT YOU?
>> RICHARD FRANKLIN LENNOX
THOMAS PRYOR III.
>> YOU.
>> AND MAGIC DUST.
>> I WAS IN THE FRONT YARD YOU
KNOW, AND ALL THE FAMILY WAS
SITTING ON THE PORCH AND THERE
WAS SOME DOG POOPOO IN THE FRONT
YARD.
AND I SLIPPED AND FELL IN IT.
>> BIG SCREAM, HUH?
>> AND THEY STARTED LAUGHING SO
I GOT UP AND FELL IN IT AGAIN.
>> FIRST RULE OF COMEDY, YES.
>> YOU'RE NOT GONNA GET ON THE
ED SULLIVAN SHOW TALKING ABOUT
DRUG USE, SO HOW YOU DO IT?
>> NOAH?
>> HE DIDN'T WANT TO BE A BILL
COSBY, AND YET HE COULD DO BILL
COSBY IN A SECOND IF HE WANTED
TO.
>> WHAT ARE YOU DOING, NOAH?
YOU GOING TO BUILD A ARK IN?
>>> RICHARD PRYOR GROWING UP IN
PEORIA, WHO WAS 90% WHITE,
HE BEGINS BY GOING TO THE MOVIES
AND BEING ENTRANCED BY
JERRY LEWIS AND MOVIES LIKE
"SAILOR BEWARE."
>> YOU BETTER WATCH WHAT YOU'RE
DOING.
>> STOP THE HEAD, AL, STOP THE
HEAD.
>> I DON'T LIKE IT HERE.
I'M GONNA QUIT.
>> "SAILOR BEWARE" WAS THE
MOVIE.
THERE WAS 300 KIDS WHEN WE LEFT
THE THEATRE GOING ‐‐
>> I'M LIKE WATCHING CARTOON
AFTER CARTOON AND THINKING "HOW
CAN I IMITATE THESE CARTOONISH
EXPRESSIONS ON MY FACE?"
>> I THINK HE LOOKED AT
TELEVISION AND FILMS DIFFERENT
THAN OTHER CHILDREN DID.
BECAUSE IN HIS EARLY STAGES,
HIS VOICES, HIS CHARACTERS,
THEY WERE FROM TV.
>> SO THAT'S THE COMEDY THAT HE
LOVES.
IT TENDS TO BE PRETTY ZANY,
HIGHLY PHYSICAL AND ANTIC.
>> DID YOU KNOW WHAT YOU WERE
GOING TO BE?
>> YEAH.
I WAS GOING TO BE RICHARD PRYOR.
DUN DUN DUN! I KNEW THAT.
SOMETHING IN ME.
>> DID YOU KNOW IT WAS GOING TO
BE SHOW BUSINESS?
>> YEAH.
I KNEW SHOW BUSINESS EVEN BEFORE
THAT.
>> I ASKED HIM, "WHEN DID YOU
FIRST FIND OUT YOU WERE FUNNY?"
AND HE SAID, WHEN I WAS 4.
>> WELL, IN THE EARLY '60s WHEN
RICHARD DECIDES HE WANTS TO
BECOME A COMIC, IT'S VERY KIND
OF FORMALIZED, RIGHT.
YOU HAVE THE KIND OF RAT PACK
WORLD.
YOU HAVE STANDUP COMICS HAVE A
CERTAIN VARIETY.
IT'S A LOT OF GAGS.
>> AT THAT TIME IT WAS STILL THE
ALAN KINGS, THE HENNY YOUNGMANS,
ROWAN AND MARTINS, THOSE KIND OF
GUYS LIKE THAT.
>> YOU NEVER DID MEET MY
DAUGHTER, DID YOU?
FERN, THIS IS DAN.
DANK THIS IS FERN.
>> BLACK PEOPLE WEREN'T ON
TELEVISION, AND IF THEY WERE,
UM, THEY WERE USUALLY TRAPPED
IN THIS WHITE VERSION OF BLACK
AMERICA.
>> THE WORLD THAT RICHARD PRYOR
WAS COMING UP IN AS A COMEDIAN
WAS THE WORLD OF ED SULLIVAN,
WHITE GUYS IN SUITS, RIGHT?
>> YOU HAVE A KIND OF
MONOCULTURE AND LIKE ONE PATH TO
TAKE.
>> RICHARD PRYOR CAME UP AT A
TIME WHERE WHOEVER THE BLACK MAN
WAS, ESPECIALLY BACK IN THE DAY
THERE WAS ONLY ONE ALLOWED, AND
THAT WAS BILL COSBY AT THE TIME.
>> BILL COSBY WAS A
COLLEGE‐EDUCATED
AFRICAN‐AMERICAN MAN.
HE WAS SOMEONE THAT WHITE
AUDIENCES AT THAT TIME IN THE
EARLY 1960s COULD ACCEPT.
HE DID COMEDY THAT HAD SOME
RACIAL ELEMENTS TO IT, BUT IT
WASN'T VERY CONFRONTATIONAL.
IT WAS ABOUT FAMILIES.
PEOPLE COULD RELATE TO IT NO
MATTER WHERE THEY HAD GROWN UP.
>> AND I LOOKED AT MY FACE IN
THE MIRROR, AND I SEE LITTLE
TINY HAIRS GROWING OUT OF MY
FACE.
>> AND HE'S LIKE, I CAN DO THAT.
I CAN DO THAT.
AND HE TRIED DO THAT.
>> COSBY WASN'T THREATENING.
COSBY WAS LIKE THE KIND OF GUY
THAT WHITE PEOPLE SAID, "NOW,
WHY CAN'T YOU ALL BE LIKE THIS?
THIS IS A GUY."
>> HE SEES BILL COSBY AND HE
THINKS VERY CLEARLY, "I WANT
A CHUNK OF THAT."
AND HE IS SUCH A GOOD
IMPRESSIONIST THAT HE BASICALLY
BECOMES A VERSION OF BILL COSBY.
>> NOAH. WHO IS THAT?
IT'S THE LORD, NOAH.
>> WHAT ARE YOU DOING, NOAH?
YOU'RE GONNA BUILD AN ARK?
IT'S GONNA RAIN 40 DAYS AND
40 NIGHTS?
THAT'S THE SILLIEST THING I
EVER ‐‐
>> COSBY, HE TALKED ABOUT COSBY
ALL THE TIME AND HOW COOL COSBY
WAS.
>> WE USED TO IDOLIZE
BILL COSBY.
>> YEAH.
>> WE USED TO GO SEE HIM.
HE WAS HOT. THAT WAS SOMETHING.
>> DO YOU EVER, EVEN
UNCONSCIOUSLY, PICK UP
SOMEBODY'S LINE AND USE IT?
>> OH, ON PURPOSE.
>> OH, I SEE.
THAT'S MORE HONEST THAN I
THOUGHT I WAS GOING TO GET.
>> PEOPLE SAY, "YOU SOUND LIKE
BILL." I SAID "THE HELL YOU MEAN?
THIS IS MY VOICE, JACK."
SO NO, I DID THAT FOR ‐‐ I MADE
A LOT OF MONEY AS BILL COSBY.
>> YEAH.
>> BUT HE ISN'T LIKE BILL COSBY.
>> BILL COSBY MADE HIS COMEDY
ACCEPTABLE TO WHITE PEOPLE.
IT WAS SAFE.
>> THERE'S NOTHING ABOUT BILL
COSBY'S UPBRINGING OR LIFE OR
CAREER THAT HAS ANYTHING TO DO
WITH RICHARD PRYOR.
>> RICHARD PRYOR FELT LIKE,
HEY, MAN, I GOT TO FOLLOW THIS
TO MAKE IT.
>> AND PRYOR GETS ON THIS PATH
AND STARTS APPEARING ON THESE
TALK SHOWS AND DOING KIND OF
STANDARD COMIC STUFF.
>> HE DIDN'T WANNA BE A BILL
COSBY, AND YET HE COULD DO BILL
COSBY IN A SECOND IF HE WANTED
TO.
>> IT WAS ALL ABOUT GETTING
"AMERICA" TO BE COMFORTABLE
ENOUGH WITH YOU TO GIVE YOU
SUCCESS.
>> RICHARD FELT HE HAD TO PANDER
TO THE WHITE AUDIENCE, AND HE
HATED HIMSELF FOR IT.
>> DO IT.
>> WHAT? WHAT?
WHAT, MR. GRIFFIN?
>> A LITTLE TAP DANCE.
MAKE THE TOES CLICK.
>> HE WOULD FESTER AND FESTER
ABOUT WHAT HE HAD TO DO TO BE
RECOGNIZED.
BUT HE DIDN'T WANT TO BE
RECOGNIZED FOR THAT SHTICK.
RICHARD WASN'T INTERESTED IN
BEING SAFE, EVER IN HIS LIFE.
NEVER.
>> HE KIND OF HAS TWO DIFFERENT
ACTS.
THERE ARE THE ACTS, THE SKITS
THAT HE'S, YOU KNOW, HONING
SO THAT HE CAN PERFORM ON
ED SULLIVAN OR MERV GRIFFIN, YOU
KNOW? AND THEN THERE'S THE IMPROV
THAT HE'S DOING AT 11:00 P. M.,
AND HE'S TRYING TO FIGURE OUT
"HOW DO I PUT THESE THINGS
TOGETHER?"
>> AND WHEN YOU'RE FINDING YOUR
OWN VOICE AND YOU HAVE TO SEARCH
FOR THAT, IT'S NOT EASY.
THERE'S A PRICE TO PAY.
BECAUSE THEY WANT YOU TO BE WHO
THEY WERE COMFORTABLE WITH.
>> HERE HE IS, OUR OWN LITTLE
RICHIE PRYOR. RICHARD!
>> BUT YOU KNOW YOU HAVE
SOMETHING YOU WANT TO DO,
AND YOU HAVE TO DO IT.
>> AND SO HE GOES DOWN TO
GREENWICH VILLAGE.
>> GREENWICH VILLAGE STARTING IN
THE '50s AND MOVING THROUGH THE
'60s WAS KIND OF LIKE BOHEMIAN
GROUND ZERO IN THE UNITED STATES.
>> IN GREENWICH VILLAGE HE FINDS
A VERY INTERESTING SCENE.
>> YOU HAD A LENNY BRUCE, WHO
WAS WORKING IN THE VILLAGE.
YOU HAD MORT SAUL, WHO WAS KIND
OF DOING TOPICAL HUMOR.
YOU HAD DICK GREGORY, ANOTHER
AFRICAN AMERICAN COMIC, WHO WAS
TRYING TO KIND OF PUSH THE
BOUNDARIES OF WHAT WAS TOPICAL.
>> YOU HEARD WHAT BOBBY KENNEDY
SAID ABOUT EIGHT WEEKS AGO?
HE SAID 30 YEARS FROM THIS YEAR
A NEGRO CAN BECOME PRESIDENT, SO
TREAT ME RIGHT AND I'LL GET IN
THERE AND RAISE TAXES ON YOU.
>> THOSE GUYS WERE THE VERY HIP
CATS AT THE TIME.
CARLIN WAS BIG.
AND ALONG CAME LIKE ELAINE
BOUSLER.
>> SUDDENLY PEOPLE WERE THINKING
OF COMING OUT TO SEE COMEDY.
>> AND IT BECAME A YOUNG THING.
AND RICHARD PRYOR STARTS TO
LISTEN TO WHAT HE'S THINKING
HIMSELF, AND HE JUST DIGS DEEP
INSIDE HIMSELF AND GOES FOR IT.
>> AN ARSONIST DOWN IN WATTS
DURING THE RIOTS. OKAY?
[ SIREN ]
ALL RIGHT GET UP TO THE WALL,
PEW, PEW, PEW, PEW, PEW.
HE AIN'T THE ONE? WELL, LET'S GO.
>> HE THOUGHT THAT THROUGH
COMEDY, YOU COULD BREAK A LOT OF
BARRIERS YOU COULDN'T IN ANY
OTHER WAY.
AND HE FELT THAT COSBY HAD BEGUN
TO DO IT.
BUT HE THOUGHT HE WAS LIKABLE
AND RICHARD SAID, I REMEMBER THE
WORD, HE SAID I'M GOING TO BE
UNLIKABLE.
I WANT THEM TO FIGHT ME.
>> SOMETHING INSIDE ME ‐‐ I
THINK IT'S GOING TO BE SOMETHING
GOOD THOUGH, WHEN I GET TO IT.
>> AT THE END OF THE DAY, IF
PROPER SOCIETY OR MAINSTREAM
MEDIA DIDN'T EMBRACE RICHARD IT
WOULD NOT HAVE CHANGED WHAT HE
WAS DOING.
>> LET'S ALL GIVE THANKS ON THIS
FIRST DAY OF THANKSGIVING, AS
WE'RE ALL SO THANKFUL TO BE
THANKFUL WE'RE THANKFUL.
I KNOW YOU'RE THANKFUL THAT I'M
THANKFUL, THAT WE'RE ALL SO
THANKFUL. AREN'T YOU THANKFUL?
YES, MASSA.
>> RICHARD DIDN'T GET IT UNTIL
HE LET OUT WHAT HE HAD INSIDE OF
HIM AND BECAME THE REAL HONEST
RICHARD PRYOR.
>> YOU BETTER GET IT TOGETHER.
>> BUT HE FOUND IT, DIDN'T HE?
HE FOUND HIS WAY.
>>> VEGAS NEXT TO NEW YORK
IS THE PINNACLE OF THE COMIC
WORLD.
IT IS WHERE ENTERTAINMENT, LIVE
ENTERTAINMENT, LIVES AND THRIVES.
IF YOU MAKE IT IN A PLACE LIKE
THE ALADDIN, YOU'VE ARRIVED.
>> VEGAS WAS EVERYTHING.
IT WAS HUGE MONEY IN THOSE DAYS.
ALL THOSE CATS WERE MAKING
MONEY, AND IT WAS A FABULOUS
LIFESTYLE. TONS OF WOMEN.
IT WAS A DISNEYLAND FOR
EVERYTHING.
>> WELCOME TO THE FLAMINGO HOTEL
IN GLITTERING LAS VEGAS.
>> RICHARD HAS THIS GREAT
CONTRACT.
HE WAS GOING TO MAKE ALL THIS
MONEY, AND HE WAS GONNA BE IN A
SHOWROOM, APPEARING.
>> YOU WOULD THINK THAT WOULD BE
ENOUGH FOR ANY COMIC.
>> HE'S GOT THIS ‐‐ WHAT SHOULD
BE, LIKE, A BIG GIG THAT OPENS
THINGS UP FOR HIM.
BUT IT'S ALSO TRUE THAT THE
VEGAS AUDIENCE IS NOT LIKE THE
AUDIENCE THAT HE'S ‐‐ HE LOVES
THE MOST.
>> IMAGINE GUYS IN SHARKSKIN
SUITS AND WOMEN WITH BOUFFANT
HAIRDOS.
THAT'S WHO THE VEGAS CROWD IS,
RIGHT?
THIS IS NOT A MIXED RACE CROWD.
THIS IS LAS VEGAS CIRCA 1967.
>> IT WAS AN ALL‐WHITE TOWN,
PERIOD.
AND IT WAS A VERY, VERY RACIST
CITY, LAS VEGAS.
THERE WAS NO BLACK PEOPLE
WORKING IN ‐‐ ON THE STRIP IN
LAS VEGAS. THERE WERE NO DEALERS.
THERE WERE NO DOORMEN.
THERE WERE NO MANAGERS.
THERE WERE NO HOTEL CLERKS.
THERE WERE NO COCKTAIL
WAITRESSES.
THERE WERE NO BLACKS IN THE
HOTELS ON THE STRIP.
>> WELL, LAS VEGAS WAS A PLACE
WHERE HIGH ROLLERS WENT TO SEE
ENTERTAINMENT LIKE THE RAT PACK.
BUT THE KIND OF CASUAL RACIAL
SLURS THAT DEAN AND FRANK
DELIVER ON TO SAMMY WITH A JOKE
AND A KIND OF WINK JUST SEEM
APPALLING NOWADAYS.
>> I'D LIKE TO THANK THE NAACP
FOR THIS WONDERFUL TROPHY.
>> I WAS THE OPENING ACT FOR
THE CARPENTERS, ABBA, JOEL GREY,
PETULA CLARK.
YOU WEREN'T OPENING FOR ACTS
THAT BROUGHT IN ANY BLACK PEOPLE.
>> SO, IMAGINE RICHARD PRYOR,
AND YOU'RE SUDDENLY IN VEGAS,
AND YOU WANT TO SHOW THEM WHAT
YOU CAN DO.
YOU WANT TO BE THE PERSON THAT
YOU ARE, BUT YOU GOT THESE RULES.
YOU CAN'T CURSE.
>> EVERYBODY WAS TOLD TO BE
TOTALLY CLEAN. NO DIRT AT ALL.
OTHERWISE YOU'LL NEVER WORK.
>> YOU DON'T TALK ABOUT BEING
RAISED IN A BROTHEL.
YOU DON'T TALK ABOUT DRUG USE
AND SCREWED UP RELATIONSHIPS.
YOU DON'T.
>> AND THEN YOU LOOK OUT IN THE
AUDIENCE, AND IT'S ALL WHITE
PEOPLE.
YOU HAVE TO DEAL WITH THAT AND
FIGURE OUT, WAIT A MINUTE, WHAT
AM I DOING HERE?
THIS IS NOT ‐‐ AM I SUPPOSED TO
BE HERE?
AM I SUPPOSED TO BE DOING THIS?
IT JUST SORT OF DOESN'T GEL.
SO THERE'S THIS UNDERLYING,
UNEASY THING THAT HAPPENED WITH
RICHARD IN LAS VEGAS.
>> YOU LIVE BEING BLACK IN A
BLACK WORLD, BUT WHEN YOU START
INTERACTING IN A WHITE WORLD,
YOU HAD TO PUT ON A DIFFERENT
ATTITUDE.
YOU'D HAVE TO PROTECT YOURSELF.
YOU'D HAVE TO BE CAREFUL WHAT
YOU SAY AND HOW YOU SAY IT.
>> I WASN'T COURAGEOUS OR HONEST
SOMETIMES.
I WOULD GET A LAUGH AND FEEL
SAFE THERE, AND I WOULDN'T GO
ANY FURTHER.
I WOULD SAY [ BLEEP ] IT'S HARD
ENOUGH TO GET THIS LAUGH.
LEAVE IT AT THAT.
>> AND SO, RICHARD WAS TRAPPED
IN THIS WORLD THAT CERTAINLY
DIDN'T FIT HIS CREATIVITY OR HIS
IMAGINATION.
AND I THINK HE HAD ENOUGH.
>> IN PRYOR'S CASE, THERE'S
A FAMOUS KIND OF EPIPHANY.
>> HE WAS IN VEGAS, AND HE
LOOKED INTO THE EYES OF
DEAN MARTIN, WHO WAS IN THE
AUDIENCE, AND APPARENTLY, HE
SAID DEAN WAS LOOKING AT HIM
WITH THIS LOOK OF LIKE, WHAT THE
[ BLEEP ] ARE YOU DOING?
AND RICHARD OBVIOUSLY
INTERNALIZED THAT QUESTION
IMMEDIATELY AND WALKED OFF STAGE.
>> AND I THINK IN ONE FELL
SWOOP, IN ONE MOMENT, HE JUST
WENT, I GOT TO LET THE GENIE OUT
OF THE BOTTLE. I CAN'T DO THIS.
IT'S LIKE A PRIMAL SCREAM.
HE JUST WENT [ BLEEP ] YOU KNOW?
THAT'S NOT ME.
>> I'M SURE THE AGENT TO THIS
DAY IS PROBABLY HANGING IN HIS
OFFICE BY A NOOSE OR SOMETHING
GOING, OH, MY GOD, HE BLEW ALL
THIS MONEY.
>> AT THAT POINT IN HIS LIFE, HE
WAS KIND OF SPINNING OUT OF
CONTROL.
HE HAD HAD SOME SUCCESSES BUT
THEY WEREN'T SATISFYING TO HIM.
WHAT HE WAS DOING WAS, LIKE,
GUEST SPOTS ON
"THE PARTRIDGE FAMILY."
>> I KNOW IT'S NONE OF MY
BUSINESS, BUT I KEEP WONDERING
WHY YOU WANT TO BEAT UP
VEGETABLES?
>> BECAUSE THAT'S THE ONLY THING
I CAN BRUISE THAT WON'T BRUISE
ME BACK.
>> THAT WAS THE LAST THING HE
DID, AND HE'S LIKE, "IS THAT
WHAT I WANT TO BE KNOWN FOR?"
>> I COULD FEEL THE STIRRINGS OF
AN IDENTITY CRISIS.
IT WAS COMING ON LIKE THE
BEGINNING OF AN ACID TRIP.
MAKE UP, RICHARD.
YES, YOU'RE AN IGNORANT JERK,
PUMPING YOUR ‐‐ LIKE A CHEAP ‐‐
BUT YOU HAVE A BRAIN.
USE IT.
>> IF YOU CHOOSE TO MOVE TO
BERKELEY YOU ARE DUNKING
YOURSELF HEAD FIRST INTO A WHOLE
DIFFERENT WORLD.
>> BERKELEY IS REALLY THE
EPICENTER OF BOTH THE
COUNTERCULTURE AT THE TIME AND
OF THE BLACK POWER MOVEMENT.
>> THAT PERIOD OF TIME, THE
WORLD WAS BLOWING UP.
PATTY HEARST WAS KIDNAPPED.
THE CHICAGO RIOTS.
THERE WAS SO MUCH GOING ON.
>> KING'S DEATH.
KENNEDY'S DEATH.
>> WE WERE A NATION DIVIDED
ALONG RACIAL LINES, DIVIDED OVER
THE WAR.
AND RICHARD PRYOR CAME ALONG
INTO THIS ANGRY SOUNDTRACK IN
AMERICAN HISTORY AND ADDED A
LAUGH TRACK.
>> BLACK POWER'S JUST A WORD.
YOU ALL GET UPTIGHT.
BLACK POWER'S COMING.
BLACK POWER'S COMING!
ANYWAY, YOU HAVE NOTHING TO FEAR
FROM THE BLACK MAN EXCEPT HIS
THOUGHTS. THAT'S ENOUGH!
>> THE VOICE OF THOSE TIMES WAS
REALLY HEARD IN MUSIC.
♪♪
THAT WAS THE NEW AGE, AND THAT'S
WHAT PEOPLE WERE LISTENING TO.
♪♪
WELL, HIS MUSIC IS HIS VOICE,
IS HIS COMEDY.
>> NEGROES CAN'T GO TO HEAVEN.
THEY CAN GET A PROMISE OF HEAVEN.
I WAS A NEGRO FOR 23 YEARS.
I GAVE THAT [ BLEEP ] UP.
NO ROOM FOR ADVANCEMENT.
>> AND IT WAS ALARMING TO
PEOPLE.
BUT, YOU KNOW, THE HIP CATS IN
JAZZ TYPE CLUBS GOT IT,
THAT THIS IS A NEW WORLD.
>> HE WASN'T DOING, YOU KNOW,
THE BILL COSBY ROUTINES ANYMORE.
YOU KNOW, "LIVE AND SMOKIN'"
WAS ‐‐ HE SHOT THAT IN 1971,
AND THAT'S HARDCORE.
AND YOU COULD SEE, "OH, HELL,
WE'RE IN FOR A RIDE HERE."
>> MY DADDY TOLD ME HE DON'T
WANT TO SEE ME INTO THE CITY
JUST BECAUSE I STOLE HIS
TELEVISION.
>> AND THAT'S WHEN HIS JOKES
BECAME MORE ABOUT WHAT I DID.
THEN IT BECAME PERSONAL.
THEN THE JOKES ELEVATED, BECAME
REAL.
>> HIS FIRST INITIAL APPEARANCES
WERE SO STRONG, SO RAW, IT
REMINDED ME ‐‐ THE CLOSEST I
COULD THINK OF IS WHEN
JIMI HENDRIX FIRST HIT THE
UNITED STATES.
PEOPLE JUST WENT, OH, MY GOD!
WHAT IS THIS?
>> YEAH, BOY, I GOT SOME.
I GOT SOME ADVICE FOR YOUR ‐‐
YOU BETTER LAY OFF THAT
NARCOTICS [ BLEEP ] THAT MADE
YOU NULL AND VOID.
>> GETTING ON STAGE IS HARD FOR
ANYBODY.
BUT DOING WHAT RICHARD DID WAS
REALLY HARD, I THINK.
>> CAN'T GET ARRESTED FOR
DRINKING NOTHING.
[ LAUGHTER ]
>> RICHARD TALKED ABOUT HIMSELF
AND HIS TRUTH.
WHERE HE CAME FROM, WHERE HE
WANTED TO GO.
WHO HE WAS AS A HUMAN BEING.
WHAT AMERICA WAS.
>> HE CAME BACK SMOKING MORE
JOINTS THAN EVER, DOING COCAINE,
MORE WOMEN.
BUT WITH THAT CAME A HEAVY,
HEAVY DRUG THING.
HE WAS ALWAYS DOING DRUGS,
BUT NOT LIKE THIS.
>> I'M REALLY NERVOUS BECAUSE
I AIN'T HAD NO COCAINE ALL DAY.
LOVE COCAINE.
>>> AS THE 60S MOVES ON AND AS
THE COUNTER CULTURE GROWS, NOT
JUST IN MUSIC OR POLITICS OR
CIVIL RIGHTS, BUT IN PLACES LIKE
COMEDY, THE SOCIETY IS BEING
REFLECTED IN THE ARTS.
>> THE PEOPLE IN THIS COMMUNITY
FEEL THEY HAVE BEEN TREATED
UNFAIRLY.
>> POLICE JUMPED OUT THE CAR,
TWO GRAB YOUR LEGS, ONE GRAB
YOUR HEAD AND SNAP, "OH HE
[ BLEEP ] HE BROKE.
CAN YOU [ BLEEP ] OKAY?
>> RICHIE, WAS COMING FROM THE
JIM CROW TIME, ANOTHER PAIN,
A MUCH DEEPER PAIN.
PAIN THAT HE KNEW IN THE CIVIL
RIGHTS, THOSE PEOPLE NEVER SEEN.
HE KNOWS THAT FROM THE TIMELINE
HE'S FROM, AND THEN PROBABLY
FROM THE PART OF THE COUNTRY
HE'S FROM.
SO YOU TAKE ALL OF THAT, AND YOU
HEAR FROM YOUR GRANDMOTHER AND
GRANDFATHER THESE TYPE OF
KILLINGS, HANGINGS, WHATEVER
STORIES WAS TOLD THEN, YOU
BRING IT ALL THE WAY WITH YOU TO
RIGHT NOW, AND YOU STILL SEE IT.
>> POLICE GOT A CHOKE HOLD THAT
THEY USE OUT HERE THOUGH ON YOU
MAN, THEY CHOKE [ BLEEP ] TO
DEATH.
YOU BE DEAD WHEN THEY THROUGH.
DID YOU KNOW THAT?
WAIT A MINUTE [ BLEEP ] GOING,
"YEAH WE KNOW."
WHITE FOLKS GOING, "OH NO, I HAD
NO IDEA."
>> RICHARD WAS ARRESTED A FEW
TIMES.
ONE TIME HE WAS ARRESTED IN
PITTSBURGH 1963, AND ON THE
MUGSHOT IT SAYS "EYES, MAROON.
HAIR, KINKY."
>> I KNOW THE FACTS OF LIFE MAN,
I'M A BLACK MAN, BUT I'M A MAN.
AND IF YOU CAN SEE THE MAN IN
ME BEFORE YOU SEE THE BLACK, GOD
BLESS YOU, BECAUSE THEN WE CAN
DEAL.
>> BACK THEN WE NEEDED TO SEE
AGGRESSION, WE NEEDED TO SEE
RESISTANCE, WE NEEDED TO SEE A
WARRIOR.
>> THERE WAS SUCH PRESSURE ON
HIM AT THAT TIME TO BE THE NEW
BLACK VOICE. BECAUSE, YOU KNOW,
MARTIN LUTHER KING WAS DEAD,
MALCOM X WAS DEAD, SO THEY
WANTED RICHARD TO BE IT.
HE DIDN'T WANT THE JOB.
THE DRUGS WERE JUST A PANACEA,
JUST A CURE FOR EVERYTHING THAT
WAS GOING ON, ALL OF IT THIS,
JUST ‐‐ OH, THAT PRESSURE.
>> DOPE DEALERS.
I DID IT SO BAD, DOPE DEALERS
TRIED NOT TO SELL ME NOTHING.
NOW THAT'S DOING IT WHEN DOPE
DEALERS SAY, I AIN'T GOING TO
GIVE YOU NO MORE.
>> OUR FIRST REAL DATE, HE TOOK
ME TO A DRUG DEALER IN SAN
FRANCISCO, AND TO BUY COCAINE.
AND THEN WE WENT TO ‐‐ HE TOOK
ME TO A MOVIE.
I'D NEVER EVEN SPOKEN TO A BLACK
MAN, LET ALONE KISSED ONE OR HAD
SEX WITH ONE, AND IT WAS LIKE ‐‐
IT WAS A NEW EXPERIENCE FOR ME,
AND I WAS JUST INFATUATED WITH
HIM.
THAT'S HOW HE MET AND WHAT OUR
LIFE WAS LIKE.
>> LOOK, I LIKE DRUGS.
I DO.
PEOPLE CALL THEM DRUGS, RIGHT?
BUT I LIKE COCAINE EVERY NOW AND
THEN, SIT AROUND MY FRIENDS AND
GET HIGH.
>> YOU MIGHT STILL.
>> MIGHT STILL?
>> DO STILL.
>> AND RICHARD HAD ENDLESS MONEY
FOR IT.
RICHARD COULD GO AND BUY A POUND
OF COCAINE, AND THEN HE WAS JUST
SNORTING IT AND SNORTING IT.
>> WE'D GO TO HIS HOUSE UP IN
NORTHRIDGE, RIGHT?
AND HE'D HAVE A TABLE FULL OF
COKE.
AND HE'D SAY, "HEY MAN, THIS
TABLE HERE, THIS IS MORE THAN
YOU'LL EVER MAKE IN YOUR
LIFETIME.
>> HIS HABIT WAS MAYBE 20 GRAND
A MONTH.
WELL, HOW LONG DO YOU THINK HE
COULD DO THAT?
>> EVERY TIME I GET IN TROUBLE
IT'S BECAUSE I END UP DRINKING
TOO MUCH OR I END UP SNORTING
TOO MUCH OR SMOKING TOO MUCH.
BUT I JUST WANT TO SAY THIS ‐‐
LIKE, LOOK I LIKE DRUGS, I DO.
>> COCAINE'S A HELL OF A DRUG,
YOU KNOW?
AND IT GIVES YOU 20 MINUTES OF
EGO.
AND SO I THINK THAT'S MAYBE WHY
SO MANY COMEDIANS WOULD TURN TO
IT, ESPECIALLY, AFTER A SHOW
WHEN YOU'RE COMING DOWN FROM THE
SHOW.
YOU DON'T WANT TO HIGH TO END,
SO YOU TURN TO SOMETHING.
>> HE WAS NOT HAPPY WITH HIS
LIFE, NO MATTER HOW MUCH MONEY
HE HAD EARNED OR WHAT KIND OF
SUCCESS HE HAD ATTAINED.
>> I THINK PROBABLY IN THIS DAY
AND AGE, IN THIS CONTEXT, HE'D
BE ON ANTIDEPRESSANTS INSTEAD
OF,EN WHY, VODKA, VODKA, VODKA.
>> AND AGAIN, IT GOES BACK TO
HIS CHILDHOOD.
THE WAY HE WAS RAISED.
>> WHATEVER HAPPENED TO HIM AS A
CHILD WAS NEVER FIXED.
>> JUST WATCHING HIS MOTHER BE
A WHORE HAD TO AFFECT HIM AS A
MATURE ADULT MAN.
>> IMAGINE BEING A BEAUTIFUL
VASE THAT EVERYBODY LOVES,
BUT THERE'S A CRACK IN IT.
SOMEBODY DROPPED IT.
AND THAT WAS RICHARD PRYOR.
EVERY TIME IT BROKE, IT BROKE IN
THE SAME PLACE. CHILDHOOD.
>> MY GRANDMOTHER WOULD WAKE MY
ASS UP.
YOU KNOW, "GET YO ASS OUT, PUT
YOUR HAND ‐‐ PUT YOUR HAND ‐‐
DON'T YOU RUN FROM ME, DON'T YOU
RUN FROM ME.
AS LONG AS YOU BLACK, DON'T YOU
RUN FROM ME.
>> THE GRANDMOTHER, REALLY, SHE
WAS THE MATRIARCH OF THE FAMILY.
SHE RAN IT WITH AN IRON HAND,
AND SHE DIDN'T SUFFER FOOLS.
INCLUDING HIM.
>> EVEN THOUGH SHE BEAT THE
[ BLEEP ] OUT OF HIM, SHE WAS
STILL THE ONLY ONE THAT HE FELT
LOVED HIM.
>> A STAR WITH A BROKEN
CHILDHOOD.
HE WAS WALKING AROUND WITH BLEW.
WE WAS LAUGHING BUT HE WAS DYING
INSIDE.
>> YOU COULDN'T FILL THE HOLE,
YOU COULDN'T, THERE'S NOTHING
YOU COULD DO.
AND HE WOULDN'T LET YOU.
HE WOULDN'T EVEN LET YOU TRY.
YOU'RE NOT COMING IN HERE AND
YOU'RE NOT GOING TO SAVE ME AND
YOU'RE NOT GOING TO RESCUE ME.
FORGET THAT.
>> IT'S SUCH A DOUBLE‐EDGED
SWORD, BECAUSE A LOT OF HIS
HUMOR CAME FROM THAT FAMILY TOO.
>> BOY, WHAT'S THAT YOU'RE
PUTTING UP YOUR NOSE?
I SAID COCAINE, MAMA.
JESUS, GOD, TAKE ME NOW LORD,
TAKE MY NOW.
GOD, SAVE MY LIFE. TAKE ME, TAKE
ME, TAKE ME.
>> RICHARD COMES ON AND GOES,
WAIT A MINUTE. THAT'S ME.
THAT HAPPENED TO ME.
THAT'S MY LIFE.
>> I SAID, MAMA DON'T DO IT.
$1,600 WORTH DOWN THE DRAIN.
>> THESE WERE VOICES AND
ATTITUDES THAT WERE NEVER DONE
BEFORE.
>> HERE IS THE BROTHEL, DRUGS,
PEOPLE GETTING SHOT, STABBED,
PROSTITUTES, HOMOSEXUALITY,
WHATEVER.
>> THESE ARE FUNNY CHARACTERS
HE'S DOING, BUT THEY'RE REAL.
THIS IS A FUNNY SITUATION THAT
HE'S TALKING ABOUT, BUT IT'S
REAL.
>> [ BLEEP ].
YOU DON'T COME DRIVING AROUND
THROW HERE LIKE YOU CRAZY.
THIS IS A NEIGHBORHOOD MAN.
THIS IS A RESIDENTIAL DISTRICT.
>> I RELATED TO HIM.
I WASN'T A SMALL BLACK CHILD,
I WASN'T, I DIDN'T GROW UP NEAR
PROSTITUTES, BUT SOMEHOW I GOT
HIM.
>> IMMA DO IT WITH YOU BOY, IMMA
WALK WIT' YA, 'CAUSE I BELIEVE
YOU GOT POTENTIAL.
>> THEN HE'D SAY SOMETHING LIKE
THAT, "I WANNA WALK WIT' YOU
BOY, TALK WIT' YOU CAUSE I THINK
YOU'VE GOT POTENTIAL."
I MEAN, HE SAID THINGS IN SUCH A
WAY THAT YOU JUST OPEN YOUR
HEART TO EVERYONE.
>> RICHARD PRYOR HAD SEVEN
MARRIAGES TO FIVE WOMEN.
TWO OF THEM TWICE.
>>> I DEFINITELY FELT THAT
RICHARD WAS MY SOUL MATE, LOVE
OF MY LIFE.
THAT'S WHY I MARRIED HIM TWICE.
>> RICHARD PRYOR HAD SEVEN
MARRIAGES TO FIVE WOMEN, TWO OF
THEM TWICE.
>> RICHARD PRYOR FIST WIFE WAS
PATRICIA PRICE.
>> AND THEN HE MARRIED SHELLEY,
AFTER SHELLEY CAME DEBORAH,
AFTER DEBORAH, ME, AND THEN
AFTER ME, FLYNN. AND THEN ME.
HOW MANY TIMES ITS THAT?
>> RICHARD PRYOR AND WOMEN.
OH, MAN.
>> SO HE HAD A LOT OF WOMEN AND
A LOT OF WIVES AND A LOT OF
CHILDREN.
HE WAS NOT ALONE IN THAT
IN THE ENTERTAINMENT WORLD.
BUT HE TALKED ABOUT IT.
>> I REALLY AM TRYING.
I REALLY AM TRYING.
I'M TELLING YOU, I'M [ BLEEP ]
TRYING, OKAY?
BUT IT'S HARD TO WAKE UP AND SEE
THE SAME PERSON ALL THE
[ BLEEP ] TIME.
>> HE SAID YOU HAVE TO WAKE UP
WITH THE SAME PERSON DAY AFTER
DAY.
SO REALLY WHAT HE WAS ADDRESSING
WAS THE KIND OF BOREDOM OF
DAY‐TO‐DAY LIVING.
RICHARD HAD A HARD TIME KNOWING
THAT AND LIVING A KIND OF, YOU
KNOW, EXISTENCE THAT WASN'T A
PARTY EVERY DAY.
>> THE NIGHT AFTER HE WAS
MARRIED WITH JENNIFER, HE
KNOCKED AN HIS LAWYER'S DOOR AND
SAID, I WANT A DIVORCE.
THE FOLLOWING MORNING.
>> THAT WAS BECAUSE RICHARD FELT
THAT IT WAS CRITICALLY IMPORTANT
FOR HIM TO CONQUER YOU.
>> IT WAS A GAME WITH HIM.
IT WAS A SPORT.
>> AND THEN ONCE YOU GAVE IN,
WELL, NOW THE INTEREST WAS VERY
MUCH LESS.
>> IT'S A RESULT OF WHAT HE WAS
EXPOSED TO IN PEORIA, WHERE YOU
GREW UP IN A WHORE HOUSE, AND
THERE'S LIES, THERE'S CHEATING,
AND THERE'S ALL OF THOSE THINGS
IN THAT WORLD.
WHAT HE SEEN THERE IMPRESSED ON
HIS MIND HIS THOUGHTS ABOUT
WOMEN.
>> so IT'S COMPLEX FOR RICHARD
BECAUSE HE NEVER HAD THE NORMAL
KIND OF UPBRINGING THAT ALL OF
US NICE MIDDLE CLASS PEOPLE HAD.
>> HOW DO YOU GROW UP LIKING
WOMEN WHEN YOU'RE BORN AND
BROUGHT UP IN A HOUSE OF
PROSTITUTION?
>> I WOULD THINK THAT YOU WOULD
THINK THAT EVERY WOMAN WAS ON
THE MAKE OR ON THE TAKE.
>> I DID.
>> SOME OF THE MISTRUST HE MAY
HAVE HAD WITH HIS WIVES OF WOMEN
HE WAS WITH WAS AS A RESULT OF
WHAT HE IS EXPOSED TO
BUT WHEN HE WAS EXPOSED TO IT,
IT WAS IN PEORIA.
>> HIS MOTHER ACTUALLY RAN AWAY
FROM THE BROTHEL WHEN HE WAS
ONLY 5 OR 6.
BECAUSE SHE DIDN'T WANT TO BE
PART OF THAT LIFE.
>> WHAT DOES IT DO TO A KID WHEN
HIS MOTHER LEAVES WHEN HE'S 6?
>> I HATED HER.
>> YOU HATED HER.
>> YEAH.
I DIDN'T UNDERSTAND WHY SHE'D
LEAVE ME WITH THEM.
>> RICHARD COULD NOT TRUST THAT
BETRAYAL WASN'T RIGHT AROUND THE
CORNER.
AS A RESULT, HE BETRAYED PEOPLE.
AS A RESULT, HE PUNISHED PEOPLE
FOR REAL OR IMAGINED BETRAYAL.
>> PRYOR TELLS A STORY IN HIS
LIVE IN CONCERT SPECIAL ABOUT
GETTING ARRESTED FOR KILLING
A CAR, IS HOW HE PUTS IT.
>> HE WAS MAD WITH HIS LADY AND
HE SHOT HER CAR ‐‐
[ LAUGHTER ]
‐‐ WITH A .357 MAGNUM.
>> AND IT SEEMED FAIR TO KILL MY
CAR TO ME, RIGHT?
BECAUSE MY WIFE WAS GON' LEAVE
MY ASS, AND I SAID NOT IN THIS
[ BLEEP ] YOU AIN'T.
NO, LORD.
YOU LEAVE, YOU BE DRIVIN' THOSE
HUSH PUPPIES YOU GOT ON.
>> IF SHE HAD JUST RAN DOWN THE
DRIVEWAY, SHE WOULD HAVE GOT
AWAY, BUT THE FACT THAT SHE
TRIED TO GET AWAY WITH THE
MERCEDES, WAIT A DAMN MINUTE.
>> THEN THE POLICE CAME, AND I
WENT IN THE HOUSE, BECAUSE THEY
GOT MAGNUMS, TOO, AND THEY DON'T
KILL CARS.
THEY KILL [ BLEEP ].
>> IT WAS SO FUNNY.
THE TIMING OF IT, THE SOUNDS
THAT HE'S FIGURED OUT TO MAKE,
AND NOW WATCHING THAT YOU'RE
THINKING, HIS WIFE MUST HAVE
BEEN TERRIFIED.
>> BECAUSE HE HAD BEATEN HER, SO
SHE WAS RUNNING AWAY, SO THE
ONLY CAR SHE HAD HER HANDS ON
WAS THE MERCEDES.
>> IN TERMS OF HIS RELATIONSHIP
WITH THE WOMEN IN HIS LIFE,
I THINK THAT THE CLOSER THEY
CAME TO HIM, THE MORE UGLINESS
THEY EXPERIENCED.
JUST AS HE HAD LIVED IN FEAR
WHEN HE WAS GROWING UP.
>> RICHARD HAD A SIMMERING RAGE
ALL THE TIME.
IT WAS JUST SOMETHING INNATE
WITH HIM, LIKE A GENETIC DEFECT.
>> HE LEARNED FROM HIS CHILDHOOD
THAT LOVE WAS TANGLED UP IN
VIOLENCE, AND HE NEVER COULD
QUITE SEPARATE THOSE IN TERMS OF
HIS RELATIONSHIPS WITH WOMEN.
>> THE MACK REALLY HIT HOME FOR
RICHARD IN THE SENSE THAT IT WAS
ABOUT A PIMP.
>> SHE IS FINE.
>> I'M FENNISHED, BUT I'LL LET
YOU HAVE HER.
>> HE FOUND HIMSELF IMMERSED
BACK IN THAT LIFE, THAT PIMP
LIFE OF HIS FATHER AND HIS UNCLE.
>> YA' KNOW WHAT I MEAN?
I'M TALKING ABOUT PLAYERS.
THEY AIN'T NO PLAYAS, I'M DRUNK.
YOU KNOW WHAT I MEAN?
>> IT DIDN'T GO WELL.
WHEN WE CAME BACK TO HOTEL, WE
HAD NO MONEY.
SO HE DECIDED THAT HE WANTED ME
TO GO TO THE BEVERLY HILLS HOTEL
AND FIND A TRICK AND BRING HOME
THE MONEY. I TRIED.
I MEAN, I GOT IN THE CAR AND I
DROVE TO THE BEVERLY HILLS HOTEL.
AND FINALLY I DECIDED I COULDN'T
DO IT.
AND WHEN I DROVE HOME, RICHARD
WAS ENRAGED THAT HIS ATTEMPT AT
PIMPING ME DID NOT WORK.
HE HAD BEEN DRINKING COURVOISIER.
HE ALREADY HAD PLENTY OF DRUGS
IN HIS SYSTEM, AND HE STARTED
BEATING ME WITH THE COURVOISIER
BOTTLE.
>> AND THESE ARE HORRIBLE
MOMENTS.
VERY DAMAGING MOMENTS FOR THE
WOMEN WHO ‐‐ WHO WANTED TO LOVE
HIM.
>> HE LEARNED IT FROM HIS
FATHER.
HIS FATHER WAS NOT ONLY VIOLENT
WITH WOMEN, BUT HIS FATHER WAS
VIOLENT WITH HIM.
>> MY FATHER WAS SCARY, BOY.
I'D PISS ON MYSELF SOMETIMES
WHEN HE'D CALL MY ‐‐ RICHARD!
HUH?
>> I THINK IT WAS VERY EASY FOR
HIM TO ‐‐ TO STRIKE OUT WITHOUT
THINKING.
AND THEN HE WAS ALWAYS CONTRITE
AND ALWAYS SORRY.
>> HE FELL TO THE FLOOR AND
STARTED BEGGING ME, MAMA, HELP
ME. MAMA, I'M SICK, HELP ME.
AND HE PASSED OUT.
>> BUT, YEAH, I FOUGHT BACK.
I WAS ONE OF THE ONES WHO FIGHT
BACK. THEY SAY ABOUT DOMESTIC
VIOLENCE, THAT THE WOMEN WHO
FIGHT BACK EITHER END UP LEAVING
OR KILLING.
SO BASICALLY, I YOU KNOW, I HAD
TO GET OUT OF DODGE.
BUT I UNDERSTOOD THAT ANGER.
WHEN HE COULD CHANNEL IT WAS
WHEN HE WAS BRILLIANT.
>> AND I HAD A FIGHT WITH MY
FATHER ONE TIME.
YOU KNOW, WASN'T EXACTLY A
FIGHT, BUT I DID THE BEST I
COULD.
AND HE HIT ME IN THE CHEST,
HE HIT ME SO HARD, MY CHEST JUST
CAVED IN AND WRAPPED AROUND HIS
FIST. AND I HELD ON TO IT WITH MY
CHEST.
I WOULD NOT LET IT GO SO HE
COULD HIT MY ASS AGAIN.
AND EVERYWHERE HE MOVED HIS ARM,
I WAS HANGING ON. LIKE THIS.
>> YOU KNOW THAT THE PATH TO
THAT JOKE WAS PAINFUL, AND THE
WORLD IS LAUGHING.
>> THE N‐WORD.
>> THE N‐WORD.
>> THAT N‐WORD.
>> WAIT A MINUTE.
>> I BEG YOUR PARDON.
>> YOU CAN'T USE IT, I CAN USE
IT. THE END.
>>> GOOD EVENING, LANG LADIES
AND GENTLEMEN, AND WELCOME TO
"THE RICHARD PRYOR SHOW."
>> THIS IS SOMETHING NOBODY HAD
EVER SEEN BEFORE.
>> IT WAS REAL.
>> [ BLEEP ].
>> WHAT?
>> THAT LITTLE BOX COULDN'T HOLD
RICHARD PRYOR.
>> WHEN HE STARTED TO DO MOVIES
AND MAKE THESE BIG PAYCHECKS I
THINK HE DID FEEL AS IF HE WERE
COMPROMISING.
>> WHAT DO YOU WANT TO KNOW
ABOUT THIS MOVIE? IT SUCKS.
>> THAT'S BASICALLY WHEN ALL
HELL BROKE LOOSE.
>> HE SAID HE WAS GOING KILL
HIMSELF.
>> WHEN THAT FIRE HITS YOUR ASS
THAT WILL SOBER YOUR ASS UP
QUICK.
>> COULD HAVE HAD IT ALL, LIKE
THAT SONG SAYS.
AND BECAUSE OF THE DRUGS, WE
DIDN'T.
WE LOST IT.
>> WE ARE GATHERED HERE TODAY.
>> RICHARD WAS MANY DIFFERENT
PEOPLE.
>> AIN'T NOBODY MESSING WITH
YOU. TURN YOUR HEAD AROUND.
>> BREAK INTO CHARACTER.
THAT'S WHAT A REAL GOOD COMIC
DOES.
>> YOU DON'T KNOW WHAT HAPPENED?
>> I DON'T KNOW HOW MANY PEOPLE
IN HIS HEAD HE THOUGHT HE WAS,
BUT BECAUSE OF THAT HIS TALENTED
INTRODUCED US TO SO MANY THINGS.
>> I LOVE WHEN WHITE DUDES GET
MAD AND CUSS.
Y'ALL ARE SOME FUNNY [ BLEEP ]
WHEN YOU CUSS.
YEAH, COME ON, PECKERHEAD.
>> PROFANITY. YEAH.
HERE COMES RICHARD PRYOR WITH
THE "MF" WORD, WITH THE "F"
WORD, WITH EVERYTHING YOU COULD
HAVE. AND YOU KNOW, I EVEN HAD TO
THINK ABOUT IT I THOUGHT, "WELL,
IS THIS OKAY? WHAT'S THIS?"
>> WELL, THE LANGUAGE, TO ME,
WAS THE LANGUAGE OF THE STREET.
>> STUCK TO THE DIALOGUE,
SAYING THE STUFF THAT, IT'S
TABOO.
>> AIN'T NO WAY TO GET AN
AMBULANCE OUT IN THE GHETTO
UNLESS YOU CALL, THIS [ BLEEP ]
IS KILLING A WHITE WOMAN,
WHERE'S THE BODY?
>> DURING THOSE DAYS, THE
PREMIERE WAY OF AMASSING AN
AUDIENCE WAS TO PUT OUT A COMEDY
RECORD.
>> I'M NOT ALLOWED TO SAY IT
NOW BUT THERE WAS A TIME WHEN I
COULD EVEN TELL YOU, YOU KNOW
WHAT MY FAVORITE ALBUM WAS?
AND IT WAS ‐‐
>> THAT'S HOW THE TITLE OF THAT
N‐WORD IS CRAZY CAME INTO THE
LEXICON OF COMEDY.
>> ON TOWER RECORDS ON
SUNSET BOULEVARD, THAT WAS THE
BILLBOARD WITH NO PIXILATION.
HE CHANGED EVERYTHING.
>> THE RECORD CAME OUT AND WAS
AN INSTANTANEOUS HIT.
>> SOME DUDES WOULD TALK TO YOU
WHILE THEY KICKED YOUR ‐‐ RIGHT?
WHAT YOU WANT WITH ME, MAN?
>> SO HE'S ON DINAH SHORE.
I MEAN, SHE IS THE EPITOME OF A
KIND OF LILY WHITE SENSIBILITY.
>> I DON'T KNOW HOW YOU FEEL
ABOUT THE TITLE OF YOUR ALBUM,
BUT I FIND IT DIFFICULT TO SAY.
>> YOU DO?
FOR MOST WHITE PEOPLE IT'S HARD
TO SAY CRAZY.
>> WELL, YOU TELL THEM THE TITLE
OF THE ALBUM, I CAN'T SAY IT.
>> THE TITLE OF THE ALBUM IS
"THAT [ BLEEP ] CRAZY", AND
DON'T THAT [ BLEEP ] LOOK CRAZY?
>> SEE NOW YOU CAN JUST SAY THAT
AND TALK ‐‐
IF I SAID THAT WOULDN'T YOU GET
MAD?
>> I'D PUNCH YOU OUT.
>> WHAT HE'S DOING IS HE'S
WAVING IN FRONT OF PEOPLE
SAYING, I KNOW YOU SAY THIS WORD.
YOU MAY NOT SAY IT ON
DINAH SHORE'S SHOW AND DINAH
MIGHT NOT SAY IT, BUT THIS IS
A WORD THAT YOU USE.
AND NOW I'M GOING TO USE IT AND
BY USING IT, I AM MAYBE
OUTRAGING YOU SHOCKING YOU
ANNOYING YOU.
BUT YOU CAN'T HELP BUT THINK
ABOUT THE FACT THAT THIS WORD IS
OUT THERE.
>> YOU EVER NOTICE HOW NICE
WHITE PEOPLE GET WHEN THERE'S
A BUNCH OF [ BLEEP ] AROUND?
RIGHT?
THEY GET OUTSIDE THEY TALK TO
EVERYBODY. HI, HOW YOU DOING?
I DON'T KNOW YOU, BUT HERE'S MY
WIFE. HELLO!
>> HE WAS ALWAYS SPEAKING FOR
THE PEOPLE.
MAKE EVERYBODY LOOK AROUND.
OH, DID YOU HEAR THAT?
I'M COMING BACK NEXT WEEK.
I WANT TO HEAR THAT AGAIN.
>> I HATE THIS CONVERSATION.
THE N WORD.
WHICH I'VE SAID ISN'T THAT JUST
AS BAD AS THE ACTUAL WORD?
>> THAT WAS SOMETIMES
HISTORICALLY THE LAST WORD THAT
YOU HEARD BEFORE YOU WAS KILLED.
>> YOU CAN'T USE IT.
I CAN USE IT. THE END.
>> HELL, NO.
OH, YOU KNOW THAT I COULDN'T USE
THAT WORD.
>> THERE'S JUST RULES THAT ARE
WRITTEN IN THIS SOCIETY THAT ARE
INVISIBLY WRITTEN, BUT WE ALL
KNOW THAT THEY'RE THERE.
YOU ARE NOT ALLOWED TO SAY THAT
TO ME. PERIOD.
>> WHY SHOULD THERE BE AN
UNSPEAKABLE WORD?
>> CAN YOU BRING [ BLEEP ]
IN OKAY? LET'S CHECK THE MANUAL.
YEP, PAGE 8, YOU CAN BRING THEM
RIGHT THERE, SEE?
LET'S DRAG 'EM DOWN TOWN, OKAY.
>> AT THE TIME THAT WAS ALL PART
OF THE BLACK MAN BEING
REBELLIOUS.
IT SHOWED THAT HE WAS A REBEL.
YOU DIDN'T CARE WHAT NOBODY SAID.
>> RICHARD HAD BRAVERY TO GO THE
OTHER DIRECTION AND TO USE THE
N‐WORD. THAT WAS THE ANGER.
AND A LOT OF COMEDY DOES COME
FROM ANGER.
IT COMES FROM INJUSTICE.
IT COMES FROM HOW YOU'VE BEEN
TREATED.
>> IT'S ALWAYS BEEN OKAY FOR
BLACK PEOPLE TO SAY IT TO EACH
OTHER, BECAUSE IT'S JUST SORT OF
A FUNNY SLANG.
BUT WHEN IT'S NOT OKAY IS WHEN
A WHITE PERSON CALLS A BLACK
PERSON THAT, BECAUSE IT'S COMING
FROM A DIFFERENT MINDSET.
>> WHEN YOU'RE ON STAGE WHY IS
IT SO MUCH A PART OF YOUR
PERFORMANCE?
>> I DON'T KNOW WHY.
>> OKAY.
>> I REALLY ‐‐ NO, I DON'T.
I GUESS IT'S, UM ‐‐ I GREW UP
AND I LEARNED CERTAIN THINGS AND
I FELT BY DOING IT MYSELF THAT
IT TAKES THE STING OUT OF IT
WHEN YOU DO THAT.
200 YEARS OF THAT.
YOU PICK A LITTLE COTTON AND
YOU'LL BE ALL RIGHT. FOR FREE.
>> LORD KNOWS HE WAS
COMPLICATED.
RICHARD PRYOR CAME OUT OF A VERY
DARK PLACE.
AMERICA WAS COMING OUT OF A VERY
DARK PLACE.
AND THEN THE TWO CROSSED PATHS,
RICHARD PRYOR MADE A JOKE, AND
THEY WENT DOWN THE SAME ROAD
TOGETHER.
>> "SATURDAY NIGHT LIVE" IS A
REVELATION FOR ALL THE KIND OF
PEOPLE WHO WERE HOME SMOKING POT
ON A SATURDAY NIGHT.
IT'S AS IF THE NETWORK HAS BEEN
HIJACKED BY A BUNCH OF, LIKE,
HIPSTERS AND STONERS.
WHEN IT COMES TO COMEDY AND
NETWORK TELEVISION, IT IS THE
FINAL AND BIGGEST BREAK FROM THE
OLD WORLD.
>> THAT'S THE MOMENT WHEN LORNE
MICHAEL SAYS, I NEED TO GET THE
FUNNIEST PERSON ON THE PLANET TO
BE THE GUEST HOST ON MY SHOW.
>> LADIES AND GENTLEMAN,
RICHARD PRYOR.
>> HIS APPEARANCE ON "SNL" IN
THE FIRST SEASON IS REFLECTIVE
OF EXACTLY HIS KIND OF ABOVE
GROUND/UNDERGROUND APPEAL.
>> NOT ONLY DOES HE CONNECT SO
INTENSELY AND DEEPLY WITH THE
BLACK AUDIENCE, BUT ALSO HE
BRINGS THE WHITE AUDIENCE WITH
HIM AS WELL.
>> SO PRYOR WAS ON ONE OF THE
OPENING EPISODES OF THE FIRST
SEASON, AND THERE IS A SKIT IN
THAT EPISODE WHERE HE IS
APPLYING FOR A JOB AND HE IS
ACROSS A DESK FROM CHEVY CHASE.
>> DOG?
>> TREE.
>> FAST?
>> SLOW?
>> AFTER SOME BACK AND FORTH
CHEVY CHASE STARTS TO USE
INCREASINGLY RACIST INSULTS AT
PRYOR TO ASK HIM TO RESPOND.
>> COLORED?
>> REDNECK.
>> JUNGLEBUNNY.
>> PECKERWOOD.
>> IT REALLY GOT VERY, VERY
TENSE AND VERY REAL.
>> HE IS UNRAVELING.
AND THAT'S THE COMPLEXITY OF THE
PERFORMANCE.
HE'S GIVING VOICE TO THE ANGER,
BUT HE'S SHOWING HOW ANGER
UNMAKES YOU.
>> I THINK EVEN CHEVY CHASE WAS
STUNNED AT WHAT HAPPENED.
>> I THINK RICHARD ACTUALLY
SCARED CHEVY CHASE DURING THAT
SCENE.
>> JUNGLEBUNNY.
>> HONKY!
>> SPADE.
>> HONKY HONKY!
>> [ BLEEP ]
>> DEAD HONKY.
>> THEY WOULD HAVE CUT IT TODAY.
BUT IN THOSE DAYS, GOD,
THIS IS SOMETHING THAT NOBODY
HAD EVER SEEN BEFORE.
>> THERE WAS NOTHING ELSE ON TV
THAT USED THOSE WORDS.
>> ANYBODY WHO WAS A TEENAGER
BACK THEN COULD REPEAT THE
ENTIRE ROUTINE TO YOU.
WHICH IS A TESTAMENT TO THE
POWER OF THE SHOW.
>> HE WANTED TO GO AS FAR OUT AS
HE COULD, AND HE WENT AS FAR OUT
AS HE COULD.
WHEN HE WENT ON THE SHOW,
EVERYBODY WAS SAYING, YOU GOT TO
WATCH THIS RICHARD PRYOR GUY.
AND HE SAID, YOU KNOW, YOU THINK
I'M INSANE? WATCH THIS.
>> WELL, LOOK AT ME I'M STANDING
HERE NAKED.
>>> WHAT A BUSINESS.
COMEDY IS BIGGER THAN EVER.
THERE ARE NOW SOME 260 COMEDY
CLUBS AROUND THE COUNTRY.
YET THE COMEDY STORE REMAINS ONE
OF THE MOST IMPORTANT.
>> MICHAEL DUKAKIS!
SOUNDS LIKE SOME KIND OF DAMN
DISEASE, DOESN'T IT?
>> IN THE '70s, COMEDY BECAME
THE ROCK 'N' ROLL OF THAT ERA.
>> IMPROV WAS BEGINNING TO BLOW
UP. PLACES LIKE THE COMEDY STORE
WERE BECOMING GO‐TO PLACES IN
THE CULTURAL PANTHEON.
>> YOU STAND IN THAT BACK
HALLWAY THERE, AND THEN THE NEXT
COMIC GOES ON, AND THEY ROAR.
>> YOU GOT RICHARD PRYOR.
>> IT WAS JIMMIE WALKER.
>> YOU HAD STEVE MARTIN,
ROBIN WILLIAMS.
[ LAUGHTER ]
THEN YOU GO LET ME.
NO, THEY'RE FOR THE BABY.
>> AND ALL THESE PEOPLE WERE
JUST BLASTING OUT OF THE COMEDY
STORE, AND THEY WERE GETTING,
LIKE, SITCOMS.
AND THEY WERE BECOMING BIG STARS
OF THEIR TIME.
IT FELT IMPORTANT.
YOU KNOW, IT FELT LIKE THIS WAS
THE VOICE OF THE PEOPLE.
>> AMERICA WAS CHANGING,
BECOMING MORE DIVERSE, SO THE
NETWORKS WANTED TO REACH OUT AND
GRAB ON TO THIS NEW THING THAT
WAS RICHARD PRYOR.
BECAUSE HIS STAR WAS SO BIG AND
GROWING.
>> SO I ALWAYS HUNG OUT AT THE
COMEDY STORE, AND I FOLLOWED HIM
OUT THE PARKING LOT, AND HE
TURNS AROUND AND SAYS, WHAT DO
YOU WANT?
I SAID, WILL YOU DO A TV SPECIAL?
HE SAID, SELL IT.
AND HE WALKED AWAY. THAT WAS IT.
>> UP TO NOW WE'VE PAINTED A
PICTURE OF PRYOR BEING VERY IN
TUNE WITH THE CULTURE, RIGHT,
AND PUSHING THE ENVELOPE JUST
ENOUGH THAT NETWORKS ARE
RESPONDING TO HIM.
LIKE ANY ENTERTAINER, HE'S GOING
TO GET AHEAD OF BECAUSE HE'S
RUNNING FASTER THAN THE
NETWORK IS READY TO RUN BEHIND
HIM.
>> NONE OF US WOULD BELIEVE AT
THAT TIME THAT RICHARD PRYOR
WAS EVER GOING TO BE ON
TELEVISION.
THAT LITTLE BOX COULDN'T HOLD
RICHARD PRYOR.
>> AND WHAT HAPPENS IS, LIKE,
ONE OF THE MOST BEAUTIFUL AND
BIZARRE EXPERIMENTS IN ALL OF
TV HISTORY.
>> "THE RICHARD PRYOR SHOW" WAS
GOING TO BE A TV SERIES.
IT WAS A VARIETY SHOW.
>> IT WAS A STELLAR CAST OF
COMEDIANS.
YOU HAD SANDRA BERNHARD.
YOU HAD ROBIN WILLIAMS.
>> YOU GOT JOHN WITHERSPOON.
YOU GOT ME.
YOU GOT MARSHA WARFIELD.
IT WAS COMEDY GLADIATOR SCHOOL.
>> PRYOR REALLY INSISTED THAT
THE WRITERS' ROOM WOULD BE
DIVERSE, AND SO WHAT YOU SEE ON
TV IS A REFLECTION OF THAT, NOT
JUST IN THE CAST, BUT IN THE
KINDS OF STORIES THAT THEY'RE
DOING.
>> YOU HAVE THE RIGHT TO AN
ATTORNEY. ALL RIGHT, LET'S GO.
[ GUNSHOT ]
>> THEY WANTED FULL AUTONOMY.
NETWORKS DO NOT GIVE FULL
AUTONOMY. DOES NOT HAPPEN.
>> YOU BOUGHT A CONTROVERSIAL
ENTERTAINER WITH A VOICE.
I THINK NBC WOULD NATURALLY BE
A LITTLE NERVOUS THEY WERE GOING
TO PUSH THE BOUNDARIES IN
PRIMETIME.
>> THERE'S A REASON THEY'RE
CALLED THE SUITS AND EVERYBODY
WEARS A SUIT.
BECAUSE THAT'S WHAT THEY ARE.
WE KNOW THAT'S WHY WE'RE ON.
AND RICHARD SAID, "YOU DON'T
KNOW ME, OKAY?"
>> EVEN BEFORE THE SHOW CAME
OUT, THERE WAS A MEDIA BUZZ
ABOUT WHAT "THE RICHARD PRYOR
SHOW" WAS GOING TO BE.
WERE YOU GOING TO GET THE REAL
UNCENSORED RICHARD PRYOR?
>> THEY WERE AFRAID OF HIM.
THEY REALLY WERE.
I DIDN'T REALIZE AT THE TIME,
BUT THEY DIDN'T KNOW HOW TO
HANDLE HIM.
>> THAT BECAME A BIG PART OF THE
DRAMA OF THE SHOW, WAS RICHARD'S
WAR WITH THE NETWORK.
>> THE MOST FAMOUS SKIT IN THAT
SHOW NEVER EVEN AIRED.
>> SO, HERE'S THE OPENING.
>> GOOD EVENING, LADIES AND
GENTLEMEN, AND WELCOME TO
"THE RICHARD PRYOR SHOW."
>> THE SCENE WHEN HE WAS GOING
TO OPEN THE SHOW WAS LIKE
THROWING A HAND GRENADE INTO
A ROOM FULL OF PEOPLE.
>> YOU KNOW, THERE'S A LOT OF
THINGS WRITTEN ABOUT ME.
PEOPLE WONDERING IF I'M GONNA
HAVE A SHOW.
>> HE GOES, "IF YOU DO
TELEVISION, YOU HAVE TO GIVE UP
EVERYTHING."
>> WELL, LOOK AT ME.
I'M STANDING HERE NAKED.
I'VE GIVEN UP ABSOLUTELY NOTHING.
>> HEAD TO TOE, NO GENITALIA.
>> SO, ENJOY THE SHOW.
>> YOU KNOW, IN THE '70s?
I MEAN, THAT'S A SLAP THAT THEY
JUST HAD A HARD TIME ACCEPTING.
>> BUT WHAT I WANTED TO DO WAS
HAVE A POINT OF VIEW.
AND ANYBODY'S POINT OF VIEW IS
OBSCENE UNLESS SOMEBODY CAN
CENSOR IT.
YOU ASK ANY ONE OF THESE HUMAN
BEINGS HERE. YOURSELF.
YOU SAY WHAT YOU WANT TO SAY.
YOU CAN'T CENSOR PEOPLE'S STUFF,
MAN. YOU CAN'T CENSOR THE TRUTH.
>> DUE TO TECHNICAL
DIFFICULTIES, WE CANNOT CONTINUE
TO BRING YOU THE AUDIO PORTION
OF "THE RICHARD PRYOR SHOW."
HOWEVER, I'M AN NBC SPOKESMAN,
AND I WILL BE HAPPY TO TELL YOU
WHAT MR. PRYOR IS SAYING.
"I'M JUST PLEASED AS PUNCH TO BE
CONTINUING ON AS PART OF THE NBC
FAMILY."
>> YOU HAVE NO IDEA WHAT'S GOING
TO COME AT YOU.
>> ONE OF THE FIRST SKITS WE DID
WAS RICHARD PRYOR BEING THE
FIRST BLACK PRESIDENT.
>> THEN, JUST HAVING HIM STAND
THERE AS THE PRESIDENT OF THE
UNITED STATES WAS ALREADY THE
JOKE.
>> MR. PRESIDENT, SINCE YOU'VE
BECOME PRESIDENT, YOU'VE BEEN
SEEN AND PHOTOGRAPHED ON THE
ARMS OF WHITE WOMEN.
>> OOH! WHOO!
>> WILL THIS CONTINUE?
>> MM.
>> AS LONG AS I CAN KEEP IT UP.
>> HEY, BOY, OVER HERE.
YOU DON'T WANT ME.
>> HE'S SO GOOD AT VOICES THAT
HE CAN IMMEDIATELY MAKE WHATEVER
THIS OBJECT IS FEEL LIKE A
LIVING CHARACTER.
>> TOUCH ME, I'LL BLOW ALL YOUR
FINGERS OFF.
>> THOSE GUNS TALKING TO HIM,
WHEN WE DID IT, IT WAS 1977.
INSANE. THAT WAS HIS IDEA.
>> PEOPLE ENJOY KILLING EACH
OTHER.
>> YOU PUT THAT ON TV TODAY, NRA
WOULD GO NUTS.
I DON'T THINK YOU'D GET ON TV.
>> WELL, GOOD NIGHT, AND SEE YOU
NEXT WEEK.
>> THE FREEDOM OF US BEING IN
THAT SETTING AND GOING THERE
WITH THESE KINDS OF THINGS, THAT
PROBABLY WILL NEVER HAPPEN AGAIN
IN THE HISTORY OF TELEVISION.
>> SO, THE SHOW LASTS FOR FOUR
EPISODES.
>> THE RATINGS WERE NOT GOOD.
AND WE WERE AGAINST "LAVERNE AND
SHIRLEY" AND "HAPPY DAYS."
>> THOSE ARE THE SHOWS THAT
NETWORK TV COULD MARRY.
BUT THEY WANTED TO DATE
RICHARD PRYOR.
>> I DON'T KNOW HOW OR WHY IT
ENDED, AND RICHARD TOLD ME, YOU
EN WHY, [ BLEEP ] I WALKED.
>> YES, I'M VERY ANGRY.
I'M ANGRY BECAUSE I HAVE TO ASK
PEOPLE, MAY I DO THIS?
MAY I DO THIS KIND OF SCRIPT?
MAY I SAY THIS KIND OF JOKE?
>> BUT DON'T WE ALL, TO A DEGREE
IN LIFE, HAVE TO DO THAT?
>> I DON'T KNOW WHAT YOU HAVE TO
DO, AND THAT'S NOT MY PROBLEM.
I'M TALKING ABOUT WHAT MAKES ME
ANGRY IS THE FACT THAT, ACROSS
THE BOARD, IN MY MIND, THERE'S
NOBODY I'VE EVER MET IN THE
BUSINESS OF, LIKE, COMEDY WHO IS
ANY MORE BRILLIANT THAN ME.
AND I WILL NEVER GET THE
RECOGNITION FOR WHAT I DO.
>> HE WAS TORN, TORN ABOUT
STUFF, I GUESS. TORN IN SOME WAY.
HE WANTED TO BE EMBRACED BY HIS
CULTURE.
HE WAS A HUGE TALENT THAT COULD
JUST GO ANYWHERE, AND YET THAT
CULTURE WAS THE ANTITHESIS OF
WHO HE WAS IN HIS MOST
VULNERABLE SELF.
>> RICHARD CARRIED AN IMMENSE
AMOUNT OF TAMPED DOWN PERSONAL
RAGE.
>> HE FREEBASED EVERY DAY.
>>> HOLLYWOOD IS NUMBER ONE.
THAT'S WHERE PRYOR WANTS TO GO
AND WHERE PEOPLE WANT TO PUT
PRYOR.
>> THE APEX OF SHOW BUSINESS IS
BEING A MOVIE STAR, WHICH IS ON
THE OTHER END OF SHOW BUSINESS
WHERE HE'S A COMEDIAN.
YOU KNOW, MOVIE STAR, COMEDIAN.
>> HIS GREATEST FAME PEAKS IN
THE 1970s. HE BECOMES HUGE.
>> BEING SUCCESSFUL AS A BLACK
PERSON IN THE EARLY '70s IN
HOLLYWOOD, THERE WERE VERY FEW.
>> YOU HAD SIDNEY POITIER AND
YOU HAD, UM ‐‐
SIDNEY POITIER.
>> THE STUDIOS ARE CRUMBLING AND
THE ENTERTAINMENT HIERARCHY IS
TRYING TO FIGURE OUT WHAT TO DO.
>> I STARTED AT UNIVERSAL.
I'D JUST TURNED 23.
THEY WERE MAKING SIX MOVIES A
YEAR AND YOU WOULDN'T GO SEE ANY
OF THEM.
THEY HAD MOVIE STARS THAT I
THOUGHT WERE DEAD.
>> I THINK THEY WERE BEGINNING
TO SEE THAT THERE WAS A YOUNG
AUDIENCE OUT THERE,
AND THEY WANTED THAT YOUNG
AUDIENCE.
COMEDY IS A STAPLE AND RICHARD
WAS THE FUNNEST GUY AT THAT TIME.
>> I'M CRAZY ABOUT YOU BABY,
I'M‐A MAKE LOVE TO YOU TONIGHT,
BABY. YOU BETTER BELIEVE IT.
>> HE WAS DEEP INTO THE
MAINSTREAM.
HE WAS KNOWN TO EVERYBODY.
>> HE WANTED TO BE A STAR.
HE WANTED TO BE BIG.
>> HE THOUGHT THAT "LADY SINGS
THE BLUES" WOULD BE THE
BEGINNING OF A NEW RICHARD.
>> THIS IS A FRIEND OF MINE.
YOU'RE GOING TO LOVE IT.
>> HE'S ASKED TO PLAY PIANO MAN.
IT'S NOT EVEN A ROLE WITH A
NAME.
>> HE WAS HIRED FOR ONLY
$500 FOR THE FIRST DAY.
AND THAT WAS IT.
IT WAS SUPPOSED TO BE A ONE‐OFF.
AND EVERY DAY THEY HIRED HIM
BACK AND THEY REWROTE STUFF.
>> IT WAS A TINY LITTLE ROLE AND
HE EXPANDED IT TO WHAT IT WAS.
>> RICHARD LOVED HIS ROLE AS THE
PIANO MAN, BUT WHEN IT WASN'T
RECEIVED WELL, THAT BOTHERED
RICHARD A LOT.
>> WHAT I WANT TO DO IS, UH, DO
A MOVIE THAT'S SO TERRIFIC
THAT I WIN 13 ACADEMY AWARDS FOR
IT.
>> AND WHAT WOULD THAT SAY TO
YOU, IF YOU WON ALL THOSE
ACADEMY AWARDS?
RICHARD PRYOR'S GOOD?
>> THAT NOT ONLY DID I WIN IN MY
SPACE, BUT I WON IN YOUR SPACE.
>> YOU MEAN, WHITE PERSON'S
SPACE?
>> YEAH.
I WAS EXCELLENT ENOUGH THAT YOU
HAD TO ACCEPT ME.
I'M HERE TONIGHT TO EXPLAIN WHY
NO BLACK PEOPLE WILL EVER BE
NOMINATED FOR ANYTHING.
>> RICHARD PRYOR, FOR BETTER OR
WORSE, WAS A MOVIE STAR.
>> RICHARD WAS ALWAYS MY ACE
CARD.
IF RICHARD WOULD DO IT, IT WAS
AUTOMATICALLY HIP, DESIRABLE,
COOL.
>> IF RICHARD PRYOR WAS IN A
MOVIE, IT WAS A HIT.
>> WE DID "CAR WASH."
>> BECAUSE MONEY WALKS AND
[ BLEEP ] TALKS.
>> "WHICH WAY IS UP."
THAT MOVIE WAS DROP DEAD, FALL
ON THE FLOOR, DIE LAUGHING.
>> RICHARD DID ALL THREE
CHARACTERS.
>> YOU KNOW THAT CHICKEN I PUT
IN THE REFRIGERATOR LAST NIGHT?
WELL, I EXPECT TO FIND IT WHEN I
GET HOME.
>> HE'S IN THE WIZ.
HE'S IN SILVER STREAK, WHICH IS
HIS BUDDY MOVIE WITH GENE WILDER.
>> THE COMBINATION OF THEM
BUMBLING AROUND AND RIFFING OFF
EACH OTHER WAS REALLY, REALLY
FUNNY.
>> HOW ARE WE GOING TO GET ON
THE TRAIN?
>> THAT'S A GOOD QUESTION.
>> I STILL GOT THE GUN.
MAYBE I COULD START A DIVERSION.
>> YEAH, BLOW YOUR BRAINS OUT.
>> WHEN HE STARTED TO DO MOVIES
AND MAKE THESE BIG PAYCHECKS,
I THINK HE DID FEEL AS IF HE
WERE COMPROMISING.
>> THEY'RE PAYING ME $2 MILLION
TO DO THIS MOVIE.
DO YOU BELIEVE IT?
MY GRANDMOTHER DIDN'T MAKE THAT
ALL HER LIFE, AND SHE'S A BETTER
WOMAN THAN YOU ARE A MAN.
>> YOU WANT TO TALK ABOUT THIS
MOVIE IS THIS.
>> YEAH, SURE, WHAT DO YOU WANT
ME ‐‐
>> "STIR CRAZY."
>> IT SUCKS.
>> HE WANTED MANY THINGS.
LIKE ALL OF US, HE WANTED TO BE
LOVED.
HE ALSO WANTED TO BE FAMOUS.
SO WAS IT A COMPROMISE? OKAY.
BUT THE CHECKS CLEARED, AND AS
BEST I CAN TELL, HE CASHED EVERY
ONE OF THEM.
>> I THINK HE WANTS TO DO HIS
TYPE OF FILM, BUT THE PROBLEM IS
WE NEVER KNEW WHAT HIS TYPE OF
FILM WAS.
>> SOMETIMES I FEEL LIKE THERE'S
A PERSON RICHARD PRYOR, AND HE
DOES ALL THIS COMEDY AND STUFF,
AND THEN THERE'S ME, AND I
WONDER WHAT I HAVE TO DO WITH
RICHARD.
I FEEL LIKE I LIVE HIS HOUSE,
AND I DRY HIS CAR AND SPEND HIS
MONEY, BUT IT AIN'T ME, YOU KNOW?
IT'S NOT ME.
>> HE STARTED FEELING GUILTY
ABOUT HIS BIG SUCCESS.
IT MADE HIM FEEL LIKE HE WAS
BEING ACCEPTED BY WHITE SOCIETY,
WHICH CONFUSED HIM, IRRITATED
HIM, ANGERED HIM.
>> I DON'T THINK IT'S EASY TO BE
A CELEBRITY.
THAT KIND OF FAME, IT'S HUGE.
IT'S A BURDEN.
AND I THINK AT SOME POINT HE
LOST HIS WAY.
AND THEN HIS DRUG DEALER
INTRODUCED HIM TO FREEBASE,
WHICH WAS THE PIPE.
>> FREEBASING WAS A WAY TO
CONCENTRATE COKE.
>> OH, MY GOD.
THAT'S WHEN BASICALLY ALL HELL
BREAK LOOSE.
>> YOU HIT THAT PIPE, YOU GO,
OH, MANY I GOD. WHOA.
THIS IS ‐‐ OH. WHOO. WONDERFUL.
LET ME HAVE ANOTHER HIT OF THAT.
>> THE PIPE HAD AHOLD OF HIM.
COULDN'T LET GO.
>> THIS PIPE IS TO TELL ME WHEN
TO GO TO BED.
THE PIPE WOULD SAY, TIME TO GET
UP. TIME FOR SOME SMOKE, RICH.
COME ON, NOW.
WE ARE NOT GOING TO DO ANYTHING
TODAY.
[ BLEEP ] ALL YOUR APPOINTMENTS.
ME AND YOU WE'RE JUST GONNA HANG
OUT IN THIS ROOM TOGETHER.
>> HE STARTS MISSING SHOWS
MISSING DATES, MISSING WORK.
>> THEY BOUGHT HIM DRUGS TO GET
HIM IN FILMS, THEY BOUGHT DRUGS
TO KEEP HIM ON A FILM.
I'M TALKING TWO POUNDS OF STUFF.
>> I DON'T KNOW NOTHING.
DO YOU UNDERSTAND ME?
I DON'T KNOW.
[ BLEEP ].
I'M LUCKY.
>> HE DISAPPEARED.
RICHARD WASN'T HOME ANYMORE.
HE TALKED ABOUT HAVING OUT OF
BODY EXPERIENCES, SEEING ALIENS
LOOKING IN THE WINDOW.
>> THAT WAS THE DRUG.
HAD AHOLD OF HIM.
>> WE COULD HAVE HAD IT ALL,
LIKE THAT SONG SAYS.
AND BECAUSE OF THE DRUGS,
WE DIDN'T. WE LOST IT.
WE LOST IT.
>> COMEDIAN RICHARD PRYOR IS IN
CRITICAL CONDITION TONIGHT AND
GIVEN LESS THAN A 50% CHANCE OF
SURVIVING AFTER SUFFERING THIRDS
OWN OVER HALF OF HIS BODY.
>>> ONE NIGHT, WE'RE HEADING
OVER THE CANYON TO GO HOME, AND
HE DOES A U‐TURN.
A FEW MINUTES LATER, WE PULL
INTO THE COMEDY STORE PARKING
LOT.
>> THIS WAS THE PLACE THAT HE
CAME WHEN HE WANTED TO DO HIS
STUFF FROM SCRATCH.
EVERY TIME HE CAME IN, IT WAS
LIKE JESUS CHRIST WAS SHOWING UP.
>> HE SITS ME DOWN AT A TABLE,
AND HE WALKS ON STAGE.
AND I JUST INSTINCTIVELY STARTED
TAKING NOTES.
AND AT THE END OF A COUPLE OF
MONTHS, HE HAD LIVE IN CONCERT.
>> THERE WAS NO SUCH THING AS
A FILMED COMEDY SPECIAL BEFORE
"LIVE IN CONCERT."
>> THERE ARE POINTS IN RICHARD
PRYOR'S CAREER YOU CAN POINT AND
SAY, THAT WAS BIG.
"LIVE IN CONCERT", RICHARD
PRYOR, WAS HUGE.
>> IT SHAPES EVERYTHING ABOUT
WHAT STANDUP IS FOR THE NEXT
SEVERAL DECADES, BECAUSE EVERY
STANDUP COMEDIAN LEARNS FROM
THAT PERFORMANCE.
>> IT IS RICHARD PRYOR IN FULL
FLOWER, IN FULL POWER.
>> WHAT YOU TAKING MY PICTURE
FOR?
WHO YOU GON SHOW IT TO
I GOT A PICTURE OF RICHARD PRYOR!
WHO GIVES A [ BLEEP ]?
>> IT'S A MOMENT WHEN HE HAS A
KIND OF A DIFFERENT APPROACH TO
CHARACTER, IN WHICH THE MAIN
CHARACTER IS HIMSELF.
>> ANYONE HERE EVER HAVE A HEART
ATTACK? THEM [ BLEEP ] HURT
I'M NOT [ BLEEP ] MAN.
I WAS WALKING IN THE FRONT YARD.
I WAS JUST WALKING ALONG AND
SOMETHING SAID, DON'T BREATHE.
>> HE RE‐CREATES THE HEART
ATTACK HE HAD.
>> NOW YOU'RE THINKING ABOUT
DYING, AREN'T YOU?
YEAH, I'M THINKING ABOUT DYING.
I'M THINKING ABOUT DYING.
YOU DIDN'T THINK ABOUT IT WHEN
YOU WERE EATING ALL THAT PORK!
>> THEM STORIES WAS LONG, THEY
WAS DRAWN OUT.
AND THEY WAS COLORFUL AND
IMAGINATIVE.
YOU COULD SEE IT ALL.
IT WAS GOOD.
>> ONE ROUTINE RICHARD DID,
WHICH REALLY EMBODIES SO MUCH,
IS THE WHITE MAN'S VOICE.
>> HE ALWAYS HAD A WHITE GUY
VOICE. IT JUST MADE ME LAUGH.
>> WEREN'T WE SITTING HERE?
WE WERE SITTING HERE, WEREN'T WE?
YES, WE WERE SITTING HERE.
>> WHITE PEOPLE WENT CRAZY FOR
"LIVE IN CONCERT."
>> IN A WORLD THAT WAS STILL
SOMEWHAT SEGREGATED, HE WAS THIS
FANTASTIC BRIDGE FOR A PERIOD OF
TIME BETWEEN THESE TWO
COMMUNITIES.
>>U NOT GOING TO DO ANYTHING
FUNNY, ARE YOU?
>> RICHARD HELD UP A MIRROR TO
THEM "THIS IS WHO YOU ARE.
LAUGH AT YOURSELVES, YOU CAN
LAUGH, BUT KNOW YOURSELF."
>> LIVE IN CONCERT DID MUCH
BETTER THAN ANYBODY THOUGHT.
IT MADE A HUGE AMOUNT OF MONEY.
>> BY THE END OF THE 1970s,
RICHARD PRYOR IS ON THE TOP OF
THE ENTERTAINMENT WORLD.
BUT THERE'S A PROBLEM LURKING IN
THE BACKGROUND.
HE KNOWS ABOUT IT, THE PUBLIC
DOESN'T.
>> PRYOR IS IN THE THROES OF
THIS ADDICTION TO COKE AND TO
FREEBASE.
AND HE ENDS UP BURNING HIMSELF
TERRIBLY WHILE FREEBASING, AND
IT BECOMES A HUGE, HUGE STORY.
>> I SAW RICHARD JUST ONLY A FEW
HOURS BEFORE HE BURNT UP.
HE WAS COMPLETELY OUT OF HIS
MIND.
>> HIS AUNT WAS THERE, AUNT DEE,
AND I SAID, "HE'S GOING TO HURT
HIMSELF."
AND THEY BASICALLY POOH‐POOHED
ME AND SAID, GET OUT OF HERE.
I WALKED OUT.
I KNEW HE WAS GOING HURT HIMSELF.
HE SAID, I MADE MY MIND UP.
>> HE CALLED ME IN HAWAII.
HE WANTED MANY A TO COME TO
LOS ANGELES AND COP SOME DRUGS
FOR HIM.
AND HE TALKED ABOUT, I CAN'T GO
ON LIKE THIS.
I MEAN, I HAVEN'T SLEPT FOR FOUR
OR FIVE NIGHTS.
AND I SAID I WASN'T GOING TO DO
THAT, I COULDN'T DO THAT.
>> THERE WAS NO REALITY AT ALL.
NONE.
ZERO, GONE.
>> HE SAID THAT HE WAS JUST
GOING KILL HIMSELF.
>> HE HAD THE PIPE IN ONE HAND
AND THE TORCH IN THE OTHER HAND.
HE WAS DUNKING THE TORCH INTO
THE RUM BOTTLE.
AND HE WAS SO ADDICTED AT THIS
POINT, HE COULDN'T PUT THE PIPE
DOWN.
HE COULDN'T PUT THE TORCH DOWN
EITHER, BECAUSE HE DIDN'T WANT
TO MISS A HIT.
IF THE TORCH WAS STILL LIT IN
ANY WAY, HOT EVEN, INTO A
BOTTLE, BOOM.
>> WE WERE LOOKING AT SOME
SPECIALS.
THEY WERE TALKING ABOUT VIETNAM.
AND WE WAS LOOKING AT THE MONK
THAT DOUSED HIMSELF IN GASOLINE,
AND HE LIT THE FLAME.
AND I SAID TO RICHARD, "LOOK AT
THIS MAN'S COMMITMENT."
AND IN RICHARD PRYOR FASHION,
HE SAID, "AND HE DIDN'T EVEN
FLINCH," WHICH MADE US LAUGH.
>> A FEW HOURS LATER, HE CAUGHT
ON FIRE.
♪♪
>> I DIDN'T HEAR A SCREAM OR
NOTHING FROM RICHARD.
IT WAS JUST A BALL OF FLAME
COMING DOWN THE HALLWAY.
AND I COULD LOOK OUT HIS BEDROOM
WINDOW AND SEE RICHARD RUNNING
DOWN THIS LONG DRIVEWAY IN A
FLAME.
>> DO YOU KNOW WHY YOU WERE
RUNNING?
>> I WAS RUNNING BECAUSE I
DIDN'T WANT TO DIE SITTING DOWN.
I JUST WANTED TO RUN OUT.
>> LATER ON WE FOUND OUT THAT
THE REASON IT DIDN'T KILL HIM ON
THE SPOT IS BECAUSE HE HAD LIKE
23 GRAMS OF COCAINE IN EVERY
PART OF HIS BODY.
SO HE DIDN'T FEEL THE PAIN OF IT.
>> COMEDIAN RICHARD PRYOR IS IN
CRITICAL CONDITION TONIGHT AND
GIVEN LESS THAN A 50/50 CHANCE
OF SURVIVING AFTER SUFFERING
THIRD‐DEGREE BURNS OVER HALF OF
HIS BODY.
>> POLICE SAID PRYOR WAS BURNED
BECAUSE SOME ETHER AND COCAINE
HE WAS USING IN HIS BEDROOM
CAUGHT FIRE.
>> I WENT TO THE HOSPITAL AND I
SAID, HE'S FULL OF DRUGS AND
VODKA.
HE COULD OVERDOSE IF THEY GIVE
HIM A SHOT OF MORPHINE.
>> HE WAS SEVERELY BURNED.
I THINK OVER 50%, 60% OF HIS
BODY.
>> WE DON'T KNOW IF HE'S GOING
TO LIVE OR DIE.
IT'S A MOMENT BY MOMENT THING.
MY PHONE RINGS.
I SAID, HELLO, HELLO.
"THOM, THOM." I SAID, "RICHARD?"
HE SAID, "THOM, HELP ME."
>> WE SWEPT THE HOUSE AND GOT
ALL THAT JUNK OUT OF THERE
BEFORE WE LET IN THE LAPD.
WE HAD MAYBE 10 OR 12 GUNS.
WE HAD EVERY CONCEIVABLE KIND OF
DRUG.
>> POLICE OFFICIALS AND FIRE
OFFICIALS WERE CLIMBING THE
FENCE AT RICHARD PRYOR'S
SUBURBAN LOS ANGELES HOME
WEDNESDAY.
>> LAPD CAME IN, THEY DIDN'T
FIND ANYTHING WRONG.
SO RICHARD DIDN'T GET CHARGED
WITH DRUG OFFENSES.
>> I KNEW I WASN'T GOING TO DIE.
THERE WAS NO DOUBT IN MY MIND.
BUT YOU CAN'T MOVE.
YOU CAN'T MOVE.
IT HUMBLES YOU AND MAKES REALIZE
THE GREATER THINGS IN LIFE.
FRIENDSHIP.
>> I WENT TO SEE HIM, AND I
WALKED IN AND I REMEMBER
THINKING, "AH, THIS IS A CHANGED
MAN."
SOMETHING HAD BURNED OUT OF HIM.
I WASN'T SURE WHAT IT WAS.
I THINK THAT HE BECAME MUCH MORE
AFRAID IN SOME WAYS OF HOW
FRAGILE IT ALL WAS, INCLUDING
HIS OWN PSYCHE, BECAUSE HE DID
THAT TO HIMSELF.
>> MY UNDERSTANDING IS THAT IT
WAS AN ACCIDENT, THAT RICHARD
WAS HIGH AS A KITE.
>> I TRIED TO COMMIT SUICIDE.
>> INTENTIONALLY?
>> THAT'S ALL I WANT TO SAY.
>>> WE WERE LIVING IN HAWAII
AT THE TIME.
WE HAD JUST GOTTEN MARRIED,
AUGUST 16, 1981.
THE LAWYER CAME DOWN AND SAID,
IT'S YOUR TIME, RICHARD.
AND I SAID, NO, YOU HAVE TO
CHILL.
WE NEED TO STAY HERE, RICHARD,
AND NOT GET BACK ON THE BAND
WAGON.
>> I CHECKED INTO THIS HOTEL,
AND I KNOCKED ON THE DOOR.
AND I COULD SEE ALL THE SCARRING
ON HIS LEGS, ON HIS CHEST, ON
HIS ARMS.
FIRST WORDS OUT OF HIS MOUTH
WERE, "DON'T WORRY SKIP, IT
DIDN'T GET MY JUNK."
AND THEN HE SAYS, "WELL, I'M
ALSO BROKE."
>> HE CAME BACK TO SOON.
ALL THE PEOPLE LOOK AT THAT AND
GO, THAT'S THE ULTIMATE FILM"
LIVE OWN SUNSET." BUT NOT FOR ME.
>> RICHARD WAS ACTUALLY VERY
EXCITED TO GO BACK TO WORK.
HE LOVED WORKING.
SO I SAID, "WELL, YOU CAN GO ON
THE ROAD, AND THEN WE'LL FILM
IT, AND WE'LL SELL IT AS A
MOVIE."
[ LAUGHTER ]
>> I THINK THAT FOR RICHARD, HIS
TALK THERAPY WAS ON STAGE.
YOU KNOW, THAT WASN'T ALWAYS
A SAFE PLACE, EITHER.
AFTER THE FIRE, I THINK IT
BECAME MORE OF A SCARY PLACE
FOR HIM.
>> HE COULDN'T FIND HIMSELF.
>> I WAS STILL AFFLICTED WITH
THE SAME OLD PROBLEMS.
THE SCARS I NOW HAD ON THE
OUTSIDE ONLY MIRRORED THE ONES
I'D HAD ON THE INSIDE MY ENTIRE
LIFE.
>> THERE WAS A LOT OF PRESSURE
IN THE COMEBACK, BECAUSE THIS
WAS A PATHWAY TO BOTH GET HIM
OUT OF THE FINANCIAL PROBLEMS HE
WAS IN AS WELL AS GETTING BACK
INTO THE MOVIE BUSINESS.
>> HE WAS VERY NERVOUS ABOUT IT.
>> THIS IS A GUY WHO NEARLY
KILLED HIMSELF.
AND SO THIS WAS GREAT CURIOSITY.
>> PEOPLE WANTED TO KNOW WHAT HE
LOOKED LIKE.
>> WHAT VERSION OF RICHARD PRYOR
WILL WE SEE THIS TIME?
>> THE FIRST NIGHT HE CRACKED
UP.
>> IT WAS THE WORST PERFORMANCE
EVER. EVERYTHING WAS OFF.
THE PUNCHLINES WASN'T THERE.
>> HE WALKED OUT ON STAGE AND
SAID, "I CAN'T DO IT.
>> I WANT IT TO BE SOMETHING
ELSE. IT'S JUST NOT THERE.
>> I DON'T KNOW WHY I'M HERE,
PEOPLE. I'M NOT DOING IT.
AND HE WALKED OFF.
>> AND HE CAME BACK THE NEXT
NIGHT, AND HE KILLED IT.
>> LADIES AND GENTLEMEN, LIVE ON
THE SUNSET STRIP, RICHARD PRYOR.
>> I REMEMBER HIM COMING ON
STAGE.
HE STILL HAD THE SCARS, AND THEY
WERE ‐‐ THIS WERE VERY APPARENT
AND VERY FRESH.
>> HE LIGHTS A MATCH AND SAYS,
WHAT'S THIS?
RICHARD PRYOR RUNNING DOWN THE
STREET.
>> THE AUDIENCE WENT WILD THAT
HE WAS MAKING A JOKE ABOUT
SOMETHING LIKE THAT.
>> USUALLY BEFORE I GO TO BED, I
HAVE MILK AND COOKIES.
AND ONE NIGHT, I HAD SOME
LOW‐FAT MILK AND SOME
PASTEURIZED.
AND I MIXED THEM TOGETHER AND I
DIPPED MY COOKIE, AND THE
[ BLEEP ] BLEW UP.
>> HE TOLD A JOKE, HE DIDN'T
TELL THE TRUTH.
>> HE MADE IT SEEM LIKE AN
ACCIDENT, WHEN WE KNOW LATER IT
WASN'T AN ACCIDENT.
>> YOU'RE THE CELEBRITY, PEOPLE
TEND TO THINK IF YOU MAKE ALL OF
THIS MONEY, NOTHING HURTS YOU OR
THAT YOU CAN TAKE CARE OF IT.
>> I TRIED TO COMMIT SUICIDE.
>> IT DIDN'T WORK.
>> YES, IT DID.
>> YOU KILLED THE OLD RICHARD
PRYOR?
>> YEAH, THAT PERSON'S DEAD.
HE WAS A HORRIBLE MAN.
>> I THINK RICHARD PRYOR'S
EXPERIENCE, THAT MOMENT WHERE HE
NEARLY DIED CHANGED HIM.
HE TALKS ABOUT HIS TRIP TO
AFRICA AND HOW HE HAD A
REVELATION ABOUT THE USE OF THE
N WORD.
>> I WAS SITTING AROUND AND A
VOICE SAID TO ME,
"LOOK AROUND, WHAT DO YOU SEE?"
I SAID, "I SEE ALL COLORS OF
PEOPLE DOING EVERYTHING."
AND THE VOICE SAID, "DO YOU SEE
ANY [ BLEEP ]?" I SAID, "NO."
AND IT SAY, "YOU KNOW WHY?
BECAUSE THERE AREN'T ANY."
>> WHEN WE CAME BACK TO AMERICA,
HE SAID, I'M NOT USING THAT WORD
ANYMORE.
A LOFT PEOPLE HAD A HARD TIME
WITH IT.
OH, YOU'RE FORGETTING WHERE YOU
COME FROM, BROTHER, YOU'RE YOU
KNOW, WHAT ARE YOU DOING?
YOU'RE SELLING OUT.
>> HE DIDN'T WANT TO BE A
MEGAPHONE.
HE WANTED TO BE THIS OR HIS WHO
IS ON THEIR OWN JOURNEY.
>> NOW WHAT ARE YOU GOING TO DO,
RICHARD?
>> THERE'S A WHOLE PERIOD OF
YEARS WHERE HE BECOMES
INCREDIBLY THIN.
>> I THINK I WAS THE FIRST
PERSON HE TOLD AFTER THAT HE WAS
DIAGNOSED. HE SAID, I HAVE M. S.
HE CONTINUED TO WORK FOR ANOTHER
THREE OR FOUR YEARS.
HE'D SHAKE A LITTLE, HE HAD
TROUBLE WALKING.
AND THAT'S WHEN BASICALLY HIS
MOTION PICTURE CAREER ENDED.
>> RICHARD.
>> HEY, RICHARD!
HOW ARE YOU?
>> THE PARTY WAS OVER.
THE BIG CHECKS WERE NOT COMING
IN ANYMORE.
THE PILES OF COCAINE WERE GONE.
I BELIEVE HE WANTED TO BE ABLE
TO LOOK AT HIS LIFE AND FEEL
GOOD ABOUT IT.
SO IN '95, '96, HE WENT BACK TO
THE COMEDY STORE.
>> THERE WAS STILL THE SPIRIT OF
RICHARD PRYOR INSIDE OF THERE.
>> ONE WAY OR THE OTHER.
>> LIKE GILLS ON A FISH, BEING
ON THAT STAGE WAS WHAT MATTERED
TO RICHARD.
>> RICHARD PRYOR DIED THIS
AFTERNOON OF A HEART ATTACK AT
HIS HOME IN CALIFORNIA.
HE WAS 65.
>> I KNOW I'M HARD TO GET ALONG
WITH.
I KNOW THAT BECAUSE I MIGHT WAKE
UP IN THE MORNING AND GO, HEY,
WAKE UP.
WHAT WAS THAT [ BLEEP ] YOU SAID
LAST FEBRUARY?
>> I LOVE WATCHING RICHARD
PRYOR.
HE SEEMED LIKE SOMEBODY WHO
WOULD BE WALKING AROUND HERE NOW.
YOU KNOW WHAT I MEAN?
HE WAS THAT AHEAD OF HIS TIME.
>> IF YOU SEE THE COMEDY OF
CHRIS ROCK OR DAVE CHAPPELLE OR
EDDIE MURPHY, HE SET THE STAGE
FOR MODERN COMEDY.
>> THIS IS AN ELECTION YEAR.
WE GOT TO BE SERIOUS.
EVERY ABLE‐BODIED
AFRICAN‐AMERICAN MUST REGISTER
FOR A LEGAL FIREARM.
>> AS I WATCHED YOUNG COMICS
COME UP AND RISE, EVERYBODY HAS
A LITTLE TWINKLE OF THAT
RICHARD PRYOR.
HE KIND OF INSPIRED ME TO LOOK
FOR THE FUNNY IN THE LEAST
FUNNIEST MOMENTS OF MY LIFE.
>> LAUGHTER IS GREAT MEDICINE,
RIGHT? AND SO IN THAT WAY,
RICHARD PRYOR WAS A GREAT DOCTOR.
>> IF I CAN TURN MY PAIN INTO
JOY ‐‐
[ LAUGHS ]
THAT'S WHAT I WANT.
THAT'S THE ART OF HUMOR.
>> TO LAUGH IS GREAT.
IT'S ONE OF THE GREATEST THINGS
THERE IS.
SOMEBODY CAN MAKE YOU LAUGH, YOU
WILL REMEMBER THAT PERSON. I DO.
I REMEMBER PEOPLE THAT MAKE ME
LAUGH ALL THE TIME.
♪♪
>> TODAY, I WONDER WHAT
RICHARD PRYOR WOULD BE DOING
TODAY. YOU CAN'T JOKE.
YOU CAN'T SAY ‐‐
>> POLITICALLY CORRECT.
PBHT.
>> I THINK A PC BE DAMNED,
PRYOR IN THIS TIME WOULD HAVE
BEEN ABLE TO SAY ANYTHING HE
WANTED TO SAY BECAUSE THERE WAS
TRUTH BEHIND IT.
I DON'T THINK HE WOULD HAVE HAD
TO CHANGE A DAMN THING.
>> THE LEGACY OF RICHARD PRYOR
IS ‐‐ I HOPE IT'S THE COURAGE TO
SEARCH FOR TRUTH IN COMEDY, AND
THERE ARE VERY FEW PEOPLE WHO
ARE WILLING TO MAKE THAT JOURNEY.
>> WHATEVER YOU FEEL ABOUT ME
WHEN YOU SEE ME RIGHT NOW IS THE
TRUTH AND DON'T EVER FORGET IT.
JUST LOOK AT ME WITH YOUR HEART.
THAT'S ALL I ASK.
♪♪