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Steve Martin, Harry Bliss team up on BԪַNumber One Is WalkingBԪַ

ComedianBԪַs cartoon captions merge with New Yorker cartoonistBԪַs drawings in new release
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Harry Bliss, left, and Steve Martin pose for a portrait to promote the book BԪַA Wealth of Pigeons: A Cartoon CollectionBԪַ on Thursday, Nov. 3, 2022, in New York. (Photo by Matt Licari/Invision/AP)

Steve Martin has this funny theory spelled out with comic timing.

BԪַYou kind of can always tell if someone hits a wall by their haircut,BԪַ he says.

Pause.

BԪַAnd IBԪַll explain what I mean.BԪַ

Pause.

BԪַLike if someone was doing really, really well in the BԪַ70s, they keep their BԪַ70s haircut. If they did well in the BԪַ80s, if they keep their BԪַ80s haircut. If theyBԪַre moving along, their haircut changes.BԪַ

Pause.

BԪַNow, IBԪַve had the same haircut forever.BԪַ

And there goes the theory.

If MartinBԪַs parted white hair BԪַ its evolution more a matter of age than of style BԪַ reflected his creative choices, it would have been an ongoing fashion show. Few have succeeded in so many art forms: standup comedy, movie acting, television acting, playwriting, novel writing, with time made throughout for banjo playing.

His passions now include cartoon captions, honed through a collaboration with the New Yorker cartoonist Harry Bliss, brought together at the recommendation of mutual friend and New Yorker art editor Françoise Mouly.

BԪַShe calls me and says that she was having dinner with Steve Martin and he had some cartoon ideas and was I interested in drawing a couple of them up,BԪַ Bliss said. BԪַWe started emailing back and forth and he sent me a couple of ideas BԪַ one I remember was about a dog panhandling. And we both kind of laughed. There was that initial spark. It was fun.BԪַ

Martin and Bliss spoke recently during an afternoon interview in midtown Manhattan, across the street from the New York Public LibraryBԪַs main branch. Friendly for the past few years BԪַ BԪַfive years agoBԪַ was MartinBԪַs favorite response when asked for any kind of timeline BԪַ they have formed a professional kinship built upon MartinBԪַs words, BlissBԪַ images and a shared love for the satire and well-populated illustrations of Mad magazine.

They first worked together on the bestselling BԪַA Wealth of Pigeons,BԪַ published in 2020, and now have completed BԪַNumber One Is Walking.BԪַ

The title is the premise for the kind of Hollywood joke Martin has mastered. The words refer to a given actorBԪַs status on set (at least some sets): BԪַNumber one is walking,BԪַ an assistant director might say to let others know of the lead actorBԪַs whereabouts. Martin was BԪַNumber OneBԪַ in BԪַThe Jerk,BԪַ BԪַBowfinger,BԪַ BԪַBringing Down the HouseBԪַ and others, only to be knocked back when he co-starred and Alec Baldwin in BԪַItBԪַs Complicated.BԪַ

BԪַNumber three is walking,BԪַ he heard.

Bliss says his greatest challenge for the book was to BԪַput the fan away, and just listen to Steve tell the story.BԪַ The first half of BԪַNumber One Is WalkingBԪַ is a meta-movie scrapbook, with BlissBԪַ sketches accompanying MartinBԪַs memories of his film career and illustrating the making of the book.

A strip might begin with Bliss asking Martin about a specific project, such as BԪַRoxanne,BԪַ or make light of which of the two is more famous.

BԪַSo, Harry, how did you get started cartooning?BԪַ Martin is seen asking on one panel, looking out dispassionately from a loveseat, with Bliss in a wicker chair at his side.

BԪַWell, I BԪַBԪַ says Bliss, rising eagerly from his seat.

BԪַThat reminds me,BԪַ Martin interrupts, BԪַof when I did the movie BԪַDirty Rotten Scoundrels.BԪַBԪַ

Martin shares memories of such late friends as , and He offers a vivid account of meeting the original director for BԪַThe JerkBԪַ (Reiner ended up with the job) and later his director when Martin and Williams starred in a 1988 stage production of BԪַWaiting for Godot.BԪַ Nichols, Martin explained during the interview, was always the wittiest man in any gathering, BԪַthe Mike Nichols in the room, the number one wit.BԪַ

BԪַI was very nervous to meet Mike Nichols,BԪַ he recalled. BԪַAnd weBԪַre going to walk to dinner. And itBԪַs summer. And itBԪַs New York, so weBԪַre outside and itBԪַs warm and I have no idea what to say to him.BԪַ

BԪַSo I say, BԪַWow, this weather is great.BԪַ And he said, BԪַYes, isnBԪַt it ironic,BԪַBԪַ Martin continued.

The bookBԪַs second half continues the kind of riffs Martin and Bliss created for BԪַA Wealth of Pigeons.BԪַ A given cartoon might begin with Martin emailing a funny caption BԪַ sometimes in the middle of the night BԪַ and Bliss devising the image to go with it.

For Bliss, the blessing and occasional burden of MartinBԪַs captions is that they originate from the mind of, well, Steve Martin: BԪַWhy Euclid had no friends,BԪַ or BԪַVarious entrances to the gates of hell,BԪַ or BԪַThe Evolved Bee.BԪַ

BԪַThere was a time when I actually thought, BԪַWhy canBԪַt Steve do a simple (caption)?BԪַBԪַ Bliss said.

BԪַYou didnBԪַt like when I sent you an idea for 10,000 penguins coming down the Arctic slope,BԪַ Martin said, adding that even as he felt guilty for some of his ideas, he believed that suggesting the seeming impossible brought out BԪַHarry at his best.BԪַ

BԪַThatBԪַs when you kill,BԪַ Martin said.

The pair may well work together again, although neither is ready to announce future plans. Bliss very much has a day job at The New Yorker and is otherwise happy to remain a cartoonist, and only a cartoonist.

BԪַI am not that ambitious,BԪַ he said. BԪַI really have no desire to do much else.BԪַ

BԪַI read a book in college called BԪַThe Psychoanalytics of Art,BԪַBԪַ Martin observed. BԪַIt talked Picasso, who was constantly changing, constantly developing a new thing, and Chagall, who painted essentially the same things his whole life. ItBԪַs just a different style.BԪַ

BԪַI donBԪַt have this restless thing, (where IBԪַm thinking) BԪַIBԪַve got to keep changing,BԪַBԪַ he added. BԪַI donBԪַt plan ahead. it just sort of happens.BԪַ

BԪַHillel Italie, The Associated Press





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