It was very taxing, because we didn't get to move around a lot, and we would work 15, 16 hours a day sometimes, and right into early Sunday morning. So it was not easy work. I can tell ya. It's tough to cover 8 people around a table without moving the camera, moving the camera, moving the lights, it takes FOREVER, and you have to do it over, and over, and make it look fresh, so if people realized that - it can be very taxing and very tough work.
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Related posts tagged 'Making a show'
sort of answered above, but PFT and i discussed, and i really wanted the show not to be so impenetrable, you know? Like, this is the first time people are listening, so why can't I show them the difficulty involved in putting together this show, so they can appreciate it? It's like how Bernie Brillstein advised bob and david to come out as themselves at the top of Mr. Show - then people could appreciate how they were doing all the characters.
The situation certainly is. Half my family growing up were carers of some sort, mostly retirement homes (stroke, Alzheimers), and Derek is like my fictional superhero of an everyday gentle outsider. I suppose they're all little fables about kindness. And possibly, a love letter to my lovely, poor and humble family growing up.
yes but then we go hard and i'll attempt to take a shit on the desk.
Ben and Tom are having lunch with a drunk Joan Calamezzo who is creepily hitting on Tom and we have this exchange:
Joan: I'm going to go to the bathroom and powder my nose... amongst other things.
Ben: Dude, is she gonna go powder her vagina?
Probably the hardest scene I've ever had to get through without breaking. Adam and I just had to skip doing it for the first few takes. It's on the blooper real I believe. Also, props to Mo Collins, who always brings it as Joan.
My parents were never informed of anything. They were never paid to do the show. They never shot promos for the network. They were just living their lives and we would show up and prank them. This was before anyone had seen anything like this on TV so it was a much different reaction from people watching back then. People freaked out!
That was the most fun I ever had. The coolest part of that episode, that you couldn't see, was the head of the secret service explaining to me what was going to happen if someone started shooting at us. What they would do to the president and where they were going to throw me in the back of a van. That was really exciting Bourne Identity stuff.
The pin really did slip from my fingers and catch on my sweater. That was not something that was planned. But what we didn't show in the episode is that I had a second backup pin taped behind my ear with a band aid (skin color so you couldn't really see it). In practicing, the pin was really easy to drop, so I wanted a backup. If the pin hit the ground, I would have gone for my backup pin.
My favorite part of working on Community was getting to work with Chris McKenna, and learning from him (and from Neil Goldman and Garrett Donovan) how to start transitioning from sealed-off, alienated writer guy into connected collaborator guy. Talking to other writers about how to tell a story the best way possible, sharing personal experiences and mining them for premises, and just generally being holed up in a room somewhere on a movie lot with a bunch of smart, funny people working together to try to make a perfect show, I always miss that feeling and it changed my life.
Question: You come from a very affluent family – are you a reformed “rich dick” or are those characters informed by people you went to school with? Or both? Or neither?
Answer: All of my characters are informed by who I am and people that I've come into contact with, as well as everyone else involved in making the show - like in the case of Rich Dicks, John Daly and people that he knew.
The Christmas episode where Michael asked Kevin to sit on his lap, and Steve had to pretend to be crushed under his weight. I think I'm laughing on camera.
I like that the show goes in different and unexpected places. It's sometimes fun to set thing up then take a step back if the business owner starts having their own ideas or pushing things forward. Later this season, I encounter a business owner that actually gets more into the idea than I am. But yeah, I like a variety of responses or reactions.
It's been a priceless experience with the people I've met in the writer's room, and that I learned how to write a script. It's just great to finally have something where I can actually write the lines. As you work your way up, you think to yourself (or lie to yourself) that you could write it better. And now I get to do that. It's been great.
90% improvised and about 10% scripted. we sort of write out a storyline, and then we do our own dialogue.
Her name was Tracy and I accidentally named Traci Reardon the same name - I came into the studio planning to name Traci Reardon Brittney Reardon and I just told Scott my name was Traci on accident! I did the original "tracy" again but changed her name to Amanda Calzone. You can hear her on the first Betsy Sodaro ep of WSGLL.
It was amazing fun. I discovered Louie online and cast him in The Invention of Lying. We became great friends and he returned the favour by letting me work on his first series of Louie. He said I could ad lib , so what was I meant to do but insult the big, fat, sweaty, bald, ginger slob?
[I love him]
The pros and cons of live action and animation are pretty much what you'd expect: in live action, you can shoot the same scene from a thousand angles for a thousand takes and figure out how to assemble the scene in "post," but if you realize that a character should have been looking a different direction or wearing a different kind of hat, you're either CGing their eyeballs or you're screwed. In animation, you can make eyeballs and hats change until the cows come home, but on the other hand, your script has to be darn near finished before the first actor even records their first line. The funny thing to me is that in live action, you can type "a room full of people" and nobody will have a he...
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