On my show, the ad breaks are about 2 seconds long. I explain to the host that they can return from break as if no time as passed, or as if a ton of time has passed, something crazy happened during the break, or whatever they want, and then we go for it!
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I am a huge fan of James Adomian's Tom Leykis, Lauren Lapkus' Traci Reardon, and anything Andy Daly ever does.
It’s a matter of easing into it and sacrificing the idea of “this is what I need to know by the end of this”. I’m doing interviews in an audio format - all the things you’re going to feel listening to that interview might not be about information per se, they’re about engagement. If people are caught up with what they want to ask and what they want to know, they can get detached from what’s happening in the present, because they want to get at something else. But if you let things unfold, and talk about nothing, that often leads to the bigger thing, and I’m like “Well, I didn’t need to talk about that, it just happened”. We just have a conversation. And the thing is, I’m not a journalist. I’...
It's something I seriously enjoy. In a way, "it's almost better than hanging out with my friends in real life," because you're being silly and having a good time... but you turn your cell phone off and are 100% committed to bits; without any outside interruptions.
What makes a great guest for me, is someone willing to completely be child like and bare their silly soul. And it's a bonus if they don't mind opening the show talking about some social issues.
When Moshe Kasher (my co-host) and I set out to do the podcast, we needed a hook, and I figured that only black guests was one we could deliver on. I know way more black dudes than Marc Maron, Chris Hardwick, and if you can believe it, Pete Holmes. Now, having said all that, our most downloaded episode it with Aziz Ansari, so our hook clearly doesn't work.
i spend the 30 minute drive to meltdown just thinking about the guest and how i want it to go. picture them laughing, myself listening, us connecting. a little visualization. then a quick Wiki search, three Alpha Brain (for real, not a plug -- www.alphabrain.com/weird) and ONE sip of coffee.
I decided to do it because it seemed easy enough to start. But it's kind of a grind booking guests. I do enjoy the conversations, though.
The thing that I love about Scott is that he is not an agent of chaos, but he is an agent of mischief. He loves to paint other people into a corner. And it’s fun, it’s really fun. You know, there are times when it’s frustrating because you might have a thing that you wanted to do but now because you did screw up a word or something, he jumps on that — but, you know, everyone is in agreement. ... It’s entirely up to the improviser, to the guest, to say, 'You know what, yes, I am going to go along with this idea, this very challenging idea that he has pushed me into, because it’ll be fun to try to get out of it. It’ll be fun to try to make sense of this.'
And, ultimately, that’s one of the th...
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Sorry no actual update. I've heard for years there's a movie being developed, but never from anyone actually connected with it. Personally I love the movies, that character, and all the people involved. It's some of the most fun I've had, and most the most widely received movie I've been a part of. Not sure Mike is really looking to make a new one, but I'm sure if he did, everyone would show up for it.
Constantly. We all thought he was crazy. Little did we know!
Garry Marshall. He seems the happiest and most easygoing and just generally seems to LOVE LIFE.
You may find out about my experiences on There Will Be Blood via my hilarious standup special LABORING UNDER DELUSIONS or Matt Gourley's amazing podcast I WAS THERE TOO.
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.
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.
When you do a movie, and you use a song, or a band, or an image on a t-shirt of a band, there's a quiet clause stating that you can't say anything negative about them. And it's sort of just understood if they're selling you a song, or letting you use a t-shirt, you're going to be respectful. So that line was not in the script, but I asked Kid Rock to yell it to me when I ran off, so I could make an extra whimper, like that was a real dagger. And so when we did it, we couldn't put it in the movie yet until I talked to Def Leppard's manager to make sure that was okay. So I called someone, cuz we originally couldn't put it in, and said "hey, is there any way we can do this" and i had to explain...
i liked asking the Jesus Camp Counselor if he thought i was going to hell. He said no, but his eyes said "yes."
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