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.
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I've interviewed almost 60,000 people. It's impossible to pick one out.
I've interviewed 7 Presidents, Marlon Brando, to Frank Sinatra, to Nelson Mandela, to Martin Luther King, it's impossible.
The only movie I watch end to end over and over again is Walk Hard. It just makes me laugh and relaxes me. the rest I will watch pieces of when they are on cable. I have so many emotions tied to every scene it’s hard for me to be a normal audience to any of it. Except Dewey Cox. And Zohan. And Popstar. I guess the sillier ones draw me in.
Daily Show was a really intense grind. So much fun, but less about spontaneous laughs and more about building comedy and crafting jokes for the on-air segments. The Office was more about just trying to make each other laugh all the time. So the vibes were very different, but equally rewarding and exciting. And hilarious.
I love that movie. Getting to play that part was such a gift for me. We had a real balance of genuine emotional resonance, with highly stylized high school life. It's all subject matter and humor that I love. Plus everyone on set and in production knew each other, or were aware of each other over the years, so filming was kind of like a party. GREAT TIME.
I had a great time on that show. That was a really fun time in my life. I left Saturday Night Live, and was happy after about 2 years of that show, I realized we were going to stick around, and it was happy to have the monkey off your back, when you leave SNL it doesn't mean you're not going to do anything else in your life in show business. So to leave it, and then get something else that kind of clicked, and I could make money at, and was really fun to do, was great. So if I didn't have Just Shoot Me, I wouldn't have had a lot of stuff. I would have never gotten a cover of Rolling Stone, I never would have gotten the house I had, and I got to work with fun people and do a show that I was p...
Yes. I think it was a really great final episode, and I love that the final episode acknowledged the impact that the documentary crew had on everyone's lives, and also continued the story with the characters. And on a personal level I loved that Ryan literally ran off into the sunset with Kelly -- but abandoned a baby in order to do so. So funny and dark and happy perfect. Greg Daniels deserves all the credit in the world for wrapping up the series the way he started it out.
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.
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Well, I always felt especially bad that Charlie was disappointed by the show because he uprooted from LA and was definitely expected the show to be innovative and groundbreaking. Now, lots of people think it was, and if you check it out, there are plenty of sketches like Grandma the Clown, First Ladies as Dogs, Waiters Who Get Nauseated by Food, The Stupid Pranksters, and, yeah, the first Ace and Gary cartoon, and I'd say those and others were smart and original. We also had a legendary star performer who did amazing impressions and had beloved characters. So writing to the star's strengths, which included writing for his Regis, Perot etc. was always going to be an important ingredient. I ki...
In general, there seems to be an understanding that when participating in a reality show you're not going to get full information about what will happen so that authentic moments can be captured on camera. The people that appear comfortable with this are usually the ones we end up involving in the show - those that seem open to an experience or adventure that's different from their day-to-day life. Often in the casting process we'll encounter business owners that have lots of specific questions about the show and exactly what we're planning to do with them. Because going into a shoot we don't want participants knowing any of that or that it's a comedy show (as this would take away from them ...
producing the music is maybe my favorite part of the whole thing. I go into a studio with Matt Kelmer and a handful of great musicians that work under the title "Sweet pro" and we just fuck around. I get to cheat and make music without the training. I ask them for different moods and sounds and they try it. or we'll say let's go with cello and piano for a while and try a few things there. The cello player, wish i fucking knew his name, is tremendous. he creates whole pieces by himself and I use them ALL.
Question: I've always wondered how you managed to get so many big name guest stars on Robot Chicken. Was it all purely professional negotiation, or was there a lot of getting friends to spend an afternoon doing you a solid?
Answer: A little of both. I asked a lot of favors in our first season, but as the show became popular, we got approached by performers who wanted to play with us. We always ask, and are thrilled when people say yes. I think it's lots of fun, so I always present it to performers that way.
I was told later that Stephen was uncomfortable but I didn't mean to. The conversation just flowed to British children's entertainers being largely pedophiles and I don't know why Stephen Merchant was tiptoeing around it.
Hannibal and I have very different approaches. I write stuff beforehand; he drifts in and out of consciousness.
I think he liked it. Steinbrenner was unfamiliar with the show. His grandchildren watched it, and his grandchildren talked him into letting us use his name. The last episode I think of the '96 season, we came up with the idea to actually fly him in and put him on the show because up to that point, we'd only been seeing the back of his head, and I was doing his voice. And then we thought it would be fun if he was - if he actually made a real appearance.
So we called him up, and he said, yeah, he would do it. So we flew out to do it. He did the show. We started editing the show. And as I watched it, I'm going, oh, my god, this is not good. And we thought it's so much better to just see the ba...
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I tend to assume vodka and I know it seems unlikely that Rick wouldn't use sci-fi tech to somehow augment whatever he drinks but I think in rick's mind part of the "addiction" to the flask of good old fashioned booze is that it anchors his identity, and I think he knows that if he augmented the booze or the flask, then why not just whip up a very rudimentary nanobiotic alcohol dispenser in his body or inject himself with a plasma component that just amounts to always having a certain blood alcohol level, and I think the reason he doesn't do that is because he's a little afraid he'll lose sight of who he is
The audition process for Drake and Josh was very extensive. Three auditions and a screen test. I KID! I auditioned at the Nickelodeon Studios and like every actor's first onscreen role, I shared a scene with a watermelon lamp that my character built for a science fair.
I thought it was really funny. They flagged our cutaway setups, which had been getting a little fast and loose at the time. Props for that. RE: the cutaways themselves, though, they were off the mark a bit. The cutaways are actually the hardest things to write on the show. Story-centric jokes come a little easier, but when you have to conceive and invent a whole independent little sequence several times in a episode, it's challenging as hell. Like doing a Far Side cartoon 10-12 times an episode.
And how was it making out with Natalie? I mean... when you have a kissing scene in a film it's not something you think about as a kissing thing. You have all these crew around. But she's a lovely kisser, very polite.
But here's a little-known fact: there's one person in the world that both Ashton and I have kissed, and that's Natalie Portman.
Chris was always doing that bit to me at work. We shared an office, and you had to walk through our office to get to Chris Rock & Adam Sandler's office, so these 2 microscopic offices were back to back, and Chris' desk was behind mine, and he didn't really know how to write, or read, really (kidding!) but he would come in bored, because I would have to write my sketches to try to get on but they would always let him on, so he would get behind me and be bored, everyone would write him sketches, and he would say "Davey… turn around" and I said "if this is Fat Guy in a Little Coat I'm not turning around, it's not funny anymore." And he would say "no, i've got a whole new thing I'm doing."
And ...
My favorite Stefon thing ever was "three screaming babies in mozart wigs" because it made my wife laugh really hard.
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