Dice Rules (1991)

NC-17 | 86 mins | Comedy, Performance | 17 May 1991

Director:

Jay Dubin

Producer:

Fred Silverstein

Production Designer:

Jane Musky

Production Company:

Fleebin Dabble
Full page view
HISTORY

The 13 Jul 1990 DV announced plans by Twentieth Century Fox Pictures to indefinitely delay release of the yet to be named Andrew Dice Clay concert film. Studio executives were reportedly grooming Clay to be a leading man, and believed it necessary to “distance him from his image as a foul-mouthed comic.” Fox distribution chief, Tom Sherak, stated that Clay’s two-night engagement at Madison Square Garden was filmed without any definite plans for a theatrical release, and emphasized the studio’s opposition to issuing pictures rated NC-17. However, additional sequences were being shot to augment the concert footage, and Fox executives would decide on a release strategy following review by the Motion Picture Association of America (MPAA). Sherak believed the completed film would most likely debut on either pay television or home video. The 18 Jul 1990 Var reported that the National Organization for Women (NOW) commended Fox for cancelling the 31 Aug 1990 release, citing the offensive nature of Clay’s jokes about “rape and violence against women and incest.” The group was currently picketing theaters showing the comedian’s latest film, The Adventures of Ford Fairlane (1990, see entry).
       Clay expressed anger toward Fox in the 17 Dec 1990 LAT, saying the film would have been “a cool Christmas present” for his fans, and regretting his association with the studio. On 22 Feb 1991, HR announced that Carolco Pictures would release the film, officially titled Dice Rules, through Seven Arts. A source close to Andrew Dice Clay hoped the motion picture industry would reassess its views on the ...

More Less

The 13 Jul 1990 DV announced plans by Twentieth Century Fox Pictures to indefinitely delay release of the yet to be named Andrew Dice Clay concert film. Studio executives were reportedly grooming Clay to be a leading man, and believed it necessary to “distance him from his image as a foul-mouthed comic.” Fox distribution chief, Tom Sherak, stated that Clay’s two-night engagement at Madison Square Garden was filmed without any definite plans for a theatrical release, and emphasized the studio’s opposition to issuing pictures rated NC-17. However, additional sequences were being shot to augment the concert footage, and Fox executives would decide on a release strategy following review by the Motion Picture Association of America (MPAA). Sherak believed the completed film would most likely debut on either pay television or home video. The 18 Jul 1990 Var reported that the National Organization for Women (NOW) commended Fox for cancelling the 31 Aug 1990 release, citing the offensive nature of Clay’s jokes about “rape and violence against women and incest.” The group was currently picketing theaters showing the comedian’s latest film, The Adventures of Ford Fairlane (1990, see entry).
       Clay expressed anger toward Fox in the 17 Dec 1990 LAT, saying the film would have been “a cool Christmas present” for his fans, and regretting his association with the studio. On 22 Feb 1991, HR announced that Carolco Pictures would release the film, officially titled Dice Rules, through Seven Arts. A source close to Andrew Dice Clay hoped the motion picture industry would reassess its views on the comedian, who had little in common with the offensive characterization he created. Clay was currently on tour, playing sold-out shows at comedy venues.
       The 14 Apr 1991 LAT reported that a soundtrack album would be released that week in anticipation of the picture’s debut the following month. According to the 5 May 1991 LAT, Clay held a press conference and breakfast on 10 May 1991 to discuss the film and pay tribute to Mother’s Day, urging guests to bring their mothers “or a reasonable facsimile thereof” to see the picture. The article suggested that Clay’s career was on the decline.
       Dice Rules opened on 17 May 1991 in only forty theaters nationwide. Reviews were lukewarm. The 18 May 1991 NYT reported that A. Alan Friedberg, chairman of Loews Theaters, refused to exhibit the film, describing Clay’s humor as detrimental to women, ethnic groups, homosexuals, and the disabled. Other theater chains banning the picture included American Multi-Cinema, Famous Players, and Edwards Theatres. Venues such as Cineplex Odeon, National Amusements, and United Artists theaters agreed to show the picture, but all were considered circuits for “art film releases.”
       End credits include the following statement: "Filmed on location in New York and in Los Angeles." The song title “Give it Up Or Turn It Loose" is misspelled onscreen as "“Give it Up Or Turnit Loose."

Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
13 Jul 1990
p. 1, 57
Hollywood Reporter
22 Feb 1991
p. 1
Hollywood Reporter
20 May 1990
p. 9, 15
Los Angeles Times
19 Jul 1990
---
Los Angeles Times
21 Oct 1990
---
Los Angeles Times
17 Dec 1990
---
Los Angeles Times
14 Apr 1991
---
Los Angeles Times
5 May 1991
---
Los Angeles Times
18 May 1991
p. 10
New York Times
10 May 1991
---
New York Times
18 May 1991
p. 15
Variety
18 Jul 1990
---
Variety
29 Apr 1991
---
Variety
20 May 1990
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
A Fleebin Dabble Production
A Seven Arts Release
DISTRIBUTION COMPANIES
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir
Unit prod mgr, Concert crew
1st asst dir, Concert crew
2d asst dir, Concert crew
Assoc dir, Concert crew
1st asst dir, Concert crew-2d unit
1st asst dir, Concert crew-2d unit
2d asst dir, Concert crew-2d unit
2d 2d asst dir, Concert crew-2d unit
1st asst dir, “A Day in the Life” - Crew
2d asst dir, “A Day in the Life” - Crew
PRODUCERS
Co-prod
Line prod
Assoc prod
Exec prod
Exec prod
WRITERS
"A Day in the Life" scr
"A Day in the Life" story by
Concert material wrt by
PHOTOGRAPHY
Dir of photog-concert
Lighting des
Cam op, Concert crew
Cam op, Concert crew
Cam op, Concert crew
Cam op, Concert crew
Cam op, Concert crew
Cam op, Concert crew
Cam op, Concert crew
Cam op, Concert crew
1st asst cam, Concert crew
1st asst cam, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Cam loader, Concert crew
Steadicam op, Concert crew
Spec eff cam, Concert crew
Cam asst, Concert crew
Cam asst, Concert crew
Cam asst, Concert crew
Cam asst, Concert crew
Cam asst, Concert crew
Cam asst, Concert crew
Cam asst, Concert crew
Cam asst, Concert crew
Cam asst, Concert crew
Elec, Concert crew
Elec, Concert crew
Elec, Concert crew
Elec, Concert crew
Elec, Concert crew
Grip, Concert crew
Grip, Concert crew
Grip, Concert crew
Grip, Concert crew
Grip, Concert crew
Grip, Concert crew
Grip, Concert crew
Grip, Concert crew
Louma crane op, Concert crew
Cam op, Concert crew-2d unit
1st asst cam, Concert crew-2d unit
1st asst cam, Concert crew-2d unit
2d asst cam, Concert crew-2d unit
2d asst cam, Concert crew-2d unit
2d asst cam, Concert crew-2d unit
2d asst cam, Concert crew-2d unit
Gaffer, Concert crew-2d unit
Elec, Concert crew-2d unit
Elec, Concert crew-2d unit
Elec, Concert crew-2d unit
Elec, Concert crew-2d unit
Generator op, Concert crew-2d unit
Grip, Concert crew-2d unit
Grip, Concert crew-2d unit
Grip, Concert crew-2d unit
Grip, Concert crew-2d unit
Grip, Concert crew-2d unit
Dir of photog, “A Day in the Life” - Crew
Cam op, “A Day in the Life” - Crew
1st asst cam, “A Day in the Life” - Crew
1st asst cam, “A Day in the Life” - Crew
Cam asst, “A Day in the Life” - Crew
Cam asst, “A Day in the Life” - Crew
Video asst, “A Day in the Life” - Crew
Gaffer, “A Day in the Life” - Crew
Best boy elec, “A Day in the Life” - Crew
Elec, “A Day in the Life” - Crew
Rigging gaffer, “A Day in the Life” - Crew
Key grip, “A Day in the Life” - Crew
Best boy grip, “A Day in the Life” - Crew
Grip, “A Day in the Life” - Crew
Rigging grip, “A Day in the Life” - Crew
Grip/Elec, “A Day in the Life” - Crew
Still photog, “A Day in the Life” - Crew
Still photog, “A Day in the Life” - Crew
ART DIRECTORS
Prod des
Art dept coord, Concert crew
Art dept prod asst, Concert crew
Prod des, “A Day in the Life” - Crew
Art dir, “A Day in the Life” - Crew
Art dept swing, “A Day in the Life” - Crew
Art asst, “A Day in the Life” - Crew
FILM EDITORS
Post prod supv
Asst ed, Concert crew
Ed, “A Day in the Life” - Crew
Negative cutting by
SET DECORATORS
Props, Concert crew
Props, Concert crew
Set dec, “A Day in the Life” - Crew
On set dresser, “A Day in the Life” - Crew
Set coord, “A Day in the Life” - Crew
Set dec asst, “A Day in the Life” - Crew
Lead person, “A Day in the Life” - Crew
Swing, “A Day in the Life” - Crew
COSTUMES
Ward, Concert crew
Cost des, “A Day in the Life” - Crew
Ward asst, “A Day in the Life” - Crew
Ward asst, “A Day in the Life” - Crew
MUSIC
Mus comp by, “A Day in the Life” - Crew
SOUND
Boom op, Concert crew
Sd, Concert crew
Prod sd mixer, Concert crew-2d unit
Boom op, Concert crew-2d unit
Boom op, “A Day in the Life” - Crew
Sync master, “A Day in the Life” - Crew
Supv sd ed, “A Day in the Life” - Crew
Sd ed, “A Day in the Life” - Crew
Sd ed, “A Day in the Life” - Crew
Asst sd ed, “A Day in the Life” - Crew
Prod sd mixer, “A Day in the Life” - Crew
ADR rec , “A Day in the Life” - Crew
ADR mixer, “A Day in the Life” - Crew
Transfer, “A Day in the Life” - Crew
1st asst ed, “A Day in the Life” - Crew
Re-rec mixer, “A Day in the Life” - Crew
Re-rec mixer, “A Day in the Life” - Crew
Re-rec by, “A Day in the Life” - Crew
Dolby stereo consultant
VISUAL EFFECTS
Main title des, “A Day in the Life” - Crew
Main and end titles prod by, “A Day in the Life” -
Main and end titles composited by, “A Day in the L
MAKEUP
Makeup, Concert crew
Makeup, Concert crew
Key makeup artist and hair stylist, “A Day in the
Makeup artist and hair stylist, “A Day in the Life
PRODUCTION MISC
Prod coord, Concert crew
Prod coord, Concert crew
Time code consultant, Concert crew
Stage mgr, Concert crew
Scr supv, Concert crew
Loc coord, Concert crew
Loc liaison, Concert crew
Transportation capt, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Office prod asst, Concert crew
Key loc asst, Concert crew
Loc asst, Concert crew
Loc asst, Concert crew
Loc asst, Concert crew
Loc asst, Concert crew
Loc asst, Concert crew
Loc asst, Concert crew
Prod coord, Concert crew-2d unit
Scr supv, Concert crew-2d unit
Key loc asst, Concert crew-2d unit
Loc asst, Concert crew-2d unit
Loc asst, Concert crew-2d unit
Loc asst, Concert crew-2d unit
Loc asst, Concert crew-2d unit
Loc asst, Concert crew-2d unit
Loc asst, Concert crew-2d unit
Casting, “A Day in the Life” - Crew
Casting, “A Day in the Life” - Crew
Key set prod asst, “A Day in the Life” - Crew
Prod coord, “A Day in the Life” - Crew
Asst prod coord, “A Day in the Life” - Crew
Asst prod coord, “A Day in the Life” - Crew
Prod asst, “A Day in the Life” - Crew
Prod asst, “A Day in the Life” - Crew
Prod asst, “A Day in the Life” - Crew
Prod asst, “A Day in the Life” - Crew
Prod asst, “A Day in the Life” - Crew
Prod asst, “A Day in the Life” - Crew
Prod asst, “A Day in the Life” - Crew
Prod asst, “A Day in the Life” - Crew
Asst to the exec prod, “A Day in the Life” - Crew
Prod auditor, “A Day in the Life” - Crew
Accounting asst, “A Day in the Life” - Crew
John-Steven Agoglia
Loc mgr, “A Day in the Life” - Crew
Asst loc mgr, “A Day in the Life” - Crew
Loc scout, “A Day in the Life” - Crew
Scr sup, “A Day in the Life” - Crew
Promotion coord, “A Day in the Life” - Crew
Promotion asst, “A Day in the Life” - Crew
Transportation coord, “A Day in the Life” - Crew
Transportation capt, “A Day in the Life” - Crew
Craft service, “A Day in the Life” - Crew
Caterer, “A Day in the Life” - Crew
Security
Police liaison, “A Day in the Life” - Crew
Extras casting, “A Day in the Life” - Crew
Extras casting, “A Day in the Life” - Crew
COLOR PERSONNEL
Col by
Col timer
SOURCES
SONGS
“Greased Lightnin’,” lyrics and music by Warren Casey & Jim Jacobs, published by Edwin H. Morris & Co., a division of MPI Communications, Inc. (ASCAP); “Give it Up Or Turn It Loose,” performed by James Brown, lyrics and music by Charles Fred Bobbit, published by Dynatone Publishing Co. & Unichappell Music, Inc. (BMI), courtesy of PolyGram Special Products, a division of PolyGram Group Distribution; “Baby What You Want Me To Do,” lyrics and music by Jimmy Reed, published by Conrad Music, a division of Arc Music Corporation (BMI); “Brooklyn Bad Boy,” lyrics and music by Robert Santa, published by Fleebin Dabble Publishing (ASCAP); “Tomboy,” composed by S. Gray, courtesy of Associated Production Music (APM).
SONGWRITERS/COMPOSERS
+
DETAILS
Release Date:
17 May 1991
Premiere Information:
Los Angeles and New York openings: 17 May 1991
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Carolco Pictures, Inc.
28 April 1992
PA564319
Physical Properties:
Sound
Dolby Stereo ® in Selected Theatres
Color
Duration(in mins):
86
MPAA Rating:
NC-17
Country:
United States
Language:
English
PCA No:
31179
SYNOPSIS

Comedian Andrew Dice Clay dramatizes a time in his life when he was the object of abuse and disrespect by friends, strangers, and his shrewish wife, Berneece. His awkward timidity was replaced by arrogant manliness after a merchant named Bob Toddler sold him a leather jacket. Clay appears before 20,000 people at Madison Square Garden in New York City. After expounding on his resentment toward animals, the comedian jokes about his boorish approach to romance and sex. He tries to dissuade men from marrying, warning that wives tend to neglect their appearance and take all of their husbands’ money. He also advises against fatherhood, and relegates child-rearing to women. The audience joins Clay as he recites his repertoire of perverted nursery rhymes, adding several new entries. The comedian criticizes television journalist Geraldo Rivera for sensationalizing a lackluster broadcast event, and praises real estate tycoon Donald Trump for preventing Japanese corporations from overtaking New York City. Clay admits to finding humor in the disabilities of others, and speculates on the convenience of sexual intercourse with “midgets.” After reminding the audience that his offensive humor does not reflect his true feelings, Clay discusses ideal places to meet women, such as laundromats and funerals, and explains his marital infidelities are the result of his insatiable need for orgasms. A band takes the stage to accompany Clay’s impression of singer Elvis Presley. Following impressions of actors Sylvester Stallone, Robert DeNiro, Eric Roberts, Al Pacino, and John Travolta, the comedian closes the show with another ...

More Less

Comedian Andrew Dice Clay dramatizes a time in his life when he was the object of abuse and disrespect by friends, strangers, and his shrewish wife, Berneece. His awkward timidity was replaced by arrogant manliness after a merchant named Bob Toddler sold him a leather jacket. Clay appears before 20,000 people at Madison Square Garden in New York City. After expounding on his resentment toward animals, the comedian jokes about his boorish approach to romance and sex. He tries to dissuade men from marrying, warning that wives tend to neglect their appearance and take all of their husbands’ money. He also advises against fatherhood, and relegates child-rearing to women. The audience joins Clay as he recites his repertoire of perverted nursery rhymes, adding several new entries. The comedian criticizes television journalist Geraldo Rivera for sensationalizing a lackluster broadcast event, and praises real estate tycoon Donald Trump for preventing Japanese corporations from overtaking New York City. Clay admits to finding humor in the disabilities of others, and speculates on the convenience of sexual intercourse with “midgets.” After reminding the audience that his offensive humor does not reflect his true feelings, Clay discusses ideal places to meet women, such as laundromats and funerals, and explains his marital infidelities are the result of his insatiable need for orgasms. A band takes the stage to accompany Clay’s impression of singer Elvis Presley. Following impressions of actors Sylvester Stallone, Robert DeNiro, Eric Roberts, Al Pacino, and John Travolta, the comedian closes the show with another song.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

Black Tuesday

Although HR news items include the following actors in the cast, their appearance in the completed film has not been confirmed: Than Wyenn, Lee Aaker, Ray Bennett, ... >>

Star Wars

The film’s title card is preceded by the statement: “A long time ago in a galaxy far, far away....” Afterward, a prologue reads: “It is a period of ... >>

The Wizard of Oz

The following dedication appears in the opening credits: “For nearly forty years this story has given faithful service to the Young in Heart; and Time has been powerless to ... >>

Close Encounters of the Third Kind

       According to Joseph McBride’s biography Steven Spielberg, the filmmaker initially titled the project Watch the Skies from a line of dialog in The ... >>

Raiders of the Lost Ark

According to production notes in AMPAS library files, filmmaker George Lucas conceived Raiders of the Lost Ark as a story called “The Adventures of Indiana Smith” in ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.