You know, they just didn't like the direction of the show - for example, the Chinese restaurant episode.
They hated - they hate - they hated that show. They didn't even want to air it. And you know, there was a big meeting about the kind of shows they liked and the kind of shows they didn't like. And you know, I just said, well, I'm not going be able to do that. So I just thought that I would quit. But then I learned another lesson - that when you say no, you invariably get your way. And it's a wonderful feeling to...
I can't believe I never did it before.
You just say no. And then they go, OK, OK, well, you don't have to.
Related posts tagged 'Making a show'
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Related posts tagged 'Making a show'
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...
I had very strong opinions about Andy's wardrobe! I felt it needed to be a combination of Northeastern, yacht-club preppy and Southern District Attorney showing up for the Kentucky Derby. I loved Michael Scott's description in one episode where he said Andy "dresses like an Easter egg."
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.
Each season has had its difficulties in producing them - and let me just say that I am really proud of the episodes in the second half of season three. I think they're super funny. There is a story to why I think they're a little inconsistent in production:
For season two, we wrote all 20 episodes before we started shooting, and we shot them all out of sequence. I think the christmas episode with Zach was one of the first ones we shot, and I know the Halloween ep with Pee-wee was in our second week. So we really got to figure out an order after the fact that made sense.
For season three, we had an earlier premiere date, but we started at the same time. So, even though we still wrote everyth...
We had a writer's summit where for 2 weeks we had Weird Al, Emo Phillips, Maja Da Oust, Jason Louv, Johnny Pemberton, Brendon Walsh (Gawd I hope i'm not forgetting someone), come up with ways the world could end. Then we broke the apocalypses we liked best into beats and "hung" the podcast dialogue on that framework. It was REALLY challenging because too much animated plot distracts from the conversation but if a GIANT ZOMBIE is eating the white house you can't just keep talking about weed so we had to figure out ways to pin the dialogue to the animation using VO we recorded after we had pieced together the animatics enough to know where it needed it.
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!
sometimes it just naturally goes in directions people didn't expect - i'm thinking of pam murphy and will hines on a recent episode. when we take a break, I'll usually ask, "Is there somewhere else you were thinking of going with it, and can i lead you back there?" Most improvisers don't care about where it ends up, because the journey is more important than the destination.
A lot of times it's like a crazy person running up to a whiteboard in the writers room and drawing a turd monster with breasts for testicles. And that crazy person's name is Justin Roiland, or, as I call him, Li'l Goldmine!
I wanted to do an episodic, non-serialized show. There's no real interest in that kind of storytelling on the Netflixes out there - they like continuing stories you can binge-watch. So the network made sense.
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.
Netflix gave 8 alt comics the chance to do whatever we want for 30 min, and it really was so wide open. They didn't give many notes during the process and were very cool with us sticking to our guns if we preferred something a specific way. Almost all of the characters in my special are from my podcast or CBB.
I spent a lot of time there in college, and I hadn't ever seen anyone depict it in a comedy series. Felt fresh. Like a mini-Boston. And the accent is hilarious.
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 ...
No, no. It was never mentioned. I never thought of it. Jerry never thought of it - furthest thing from my mind. And by the way, I couldn't have done it anyway. There's no way that I could have. First of all, they wouldn't have let me do it (laughter). But even had they let me do it, there's no way that I could have done that and also been the executive producer of the show. It would have been way too hard. I mean I had a 24/7 job just on the writing end of it and the producing end. So there's no way I could have been in it.
the poker scene in season 1 was very written but then i let the guys go off and fuck around. i used some of that. I don't generally let people improvise though. That works for shows where you have two cameras that are just sort of following the action. i shoot my show like a movie and it would be all fucked up if folks just said things.
i liked asking the Jesus Camp Counselor if he thought i was going to hell. He said no, but his eyes said "yes."
Best job ever. The excitement of starting a whole new show to replace my hero Letterman's, of doing it with one of my best friends hosting it, and working with hilarious young writers, it far outweighed how hard it was and how many people tore into it. Too many memories to list but Louis CK used to throw shit out the 30 Rock window a lot. He would throw money, and attach a note to it - stuff like "You fucking pathetic moron." So we got to watch people scurry to pick up dollar bills and the read the note. Even though they were ant-sized, their body language was enough to have us laughing for hours.
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.
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.
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